Boris Godunov – Mies kuin unelma (A Man Like a Dream) is a play running in Theater Jurkka in spring 2025. It is a surreal exploration of toxic tyranny and self-perpetuating hegemonies.

The play was developed collaboratively within the working group, consisting of Sanna Hietala, Ville Sandqvist, Iiro Ollila, Heini Maaranen, Nuutti Koskinen, Noora Salmi, Saku Kaukiainen, and Jorma Uotinen. My specific responsibility was the visual look and video projections.

This is a tale, a vision, of a phoenix—a male tyrant—who, upon exploding into ashes, takes everything living around him with him. He rises again and again, expands endlessly, and never disappears. We love him persistently, even though he does not love us back. We weave myths about him, we believe that he will return transformed. We keep believing.

Boris Godunov – Mies kuin unelma (A Man Like a Dream) is a tender farewell to the king drama. It is a forthright, phallocentric play and an attempt to take one last look at the male hegemony. It cleans, embraces, soothes, and caresses until tyranny finally vanishes. The work resists hero worship and myths of greatness. It seeks to silence itself.

Tatu ja Patu Helsingissä was running in the Helsinki City Theatre in 2021–22. The musical play, directed by Sami Rannila, is based on the popular Finnish comic series by Aino Havukainen and Sami Toivonen. The plot follows the titular characters’ journey through the city of Helsinki as viewed through their imagination as well as their search for their long-lost cousin Jori.

The stage design by Markus Tsokkinen consists mostly of large cubic projection surfaces which can be moved freely in the space. Multiple video elements are continously projected on the stage, playing with the illusions of scale, the real and the surreal, presenting subnarratives and additional contexts for the unfolding plot.

Ihanteiden Aika – Päivälehden piiri was a play commissioned by Helsingin Sanomat for it’s 125th anniversary, directed by Katja Krohn. It was a story about running a newspaper in the late 19th and early 20th century Helsinki. The construction of nationalism, the growing political tensions in the society as well as the role of the cultural elite were central themes in the piece.

Five video projectors were used to project images on various surfaces and objects on stage, to create moving backgrounds, interactive scenes as well as stand-alone video spots. The visuals strongly borrowed and referenced elements of the late 19th century art, architecture and industrialization.

Ahmija (“The Glutton”) was a play at Jurkka Theatre, Helsinki in 2007-2008.

The play, directed by Katja Krohn, was based on a collective scriptwork. The characters and dialogue were derived both from improvisations and our ideas, images and texts. The end result consisted of loosely connected episodes, mixing elements of opera, doll theatre, realism and surrealism into a carnivalistic and grotesque experience. The stage design by Markus Tsokkinen made possible a walk-trough video wall for three projectors. My task in the group was to produce all the video material, using live video, animation and combinations of both.