Baskin production sells out before rehearsals begin

Tickets for Thors Films’ production Baskin sold out before the first rehearsal, and even before the script was completed, according to ERR. The production premiered on July 25 in Kiidjärve Park, and reviewer Jaak Allik writes that next summer’s performances are also likely to sell out.

The review was published in Sirp. Allik argues that the production’s popularity stems not only from the well-known Eino Baskin phenomenon but also from what he calls the Kiidjärve phenomenon. He says audiences are likely to recommend the show to their friends, just as earlier productions by Vanalinnastuudio and Baskin’s variety programmes were widely recommended.

Allik describes Baskin as a work of art created by highly professional artists. The production moves briskly through its central character’s life without drawn-out dialogue or unnecessarily embarrassing episodes, which he considers the clear achievement of scriptwriters Ott Kilusk, Marko Matvere, Tarmo Kiviväli and Maarek Toompere.

Although Eino Baskin was not a musical theatre performer, the production contains extensive music and dance. Its energetic opening shows a young Eino, portrayed as his childhood favourite Charlie Chaplin, with the role performed by Baskin’s daughter. Katrin Pärn, who plays several roles ranging from Baskin’s mother to his wife Ita, provides what the review calls the production’s central tone and ultimately reaches her own character through a moving song to her father.

Sepo Seeman and Mait Malmsten both portray the title character and imitate Baskin enjoyably. However, Allik says the script’s recurring idea that the entire story was staged by the older Baskin himself is not carried through consistently or clearly, raising questions about the need to split the character between two actors.

Priit Strandberg gives what the reviewer calls a masterclass in imitation as Jüri Järvet. He captures not only Järvet’s intonation and appearance but also convincingly conveys the actor’s psychology and inner life. Strandberg also appears in a brilliant short scene as Ervin Abel. The review notes that there was apparently not enough left for equally faithful portrayals of Kaljo Kiisk and Simon Levin.

The production moves across several genres. Its psychological theatre reaches a high point during Järvet’s journey to Leningrad to ask Baskin for help understanding King Lear’s monologue and performing it in Russian, a language he does not understand, at the following day’s audition.

Among the production’s most memorable visual moments is a whirlwind-like tour by a variety orchestra of the Philharmonic Society through the “brother republics”. Birgit Sarrap and Marianne Leibur demonstrate striking skill in transforming both their voices and appearances.

The production was directed by Marko Matvere, with stage design by Karmo Mende, musical direction by Siim Aimla, video design by Maarek Toompere and Mare Kõrtsini, lighting by Petri Parrik, and choreography by Liisi Org. The cast also includes Ester Kuntu, Jan Uuspõld, Peeter Oja, Mart Toome, Liina Tennosaar, Kalle Sepp and others, accompanied by the Vana Klaver ensemble.