Tag Archives: Brothers Grimm

Twisted but not Bitter

THE TWISTED TALE OF HANSEL AND GRETEL

Birmingham Hippodrome, Wednesday 4th April, 2018

 

In the first of a planned series of collaborations, Birmingham Hippodrome, Open Theatre Company and Metro-Boulot-Dodo stage this new production to bring learning disabled performers to the fore, during the creative process and the performance.  This is perhaps the biggest ‘twist’ on offer, although the show has a few pleasant surprises in its retelling of the Brothers Grimm story.

At the helm is our Storyteller (Nicky Priest) bombastic, condescending and all the funnier because of it.  He bows to the will of the cast when they demand the story needs ‘jazzing up’ and we watch in delight as things slip out of his control and he descends into neurosis.  Priest is superb, the lynchpin of the performance, holding things together.  He is assisted by Mockingbird (Charles Craggs) whose musical accompaniment and sound effects underscore the action.  Mockingbird is a subversive presence, undermining the Storyteller, but he is a vital cog in the show’s machinery, providing vocalisations that allow the actors to focus on choreographed movements.

Director Esther Simpson enables the cast to play to their strengths.  Her script gives most of the dialogue to the Storyteller and Mockingbird so that lines spoken by other characters comes across as punchlines and make us laugh.  It’s a very physical performance style, as cartoon-like, the characters enact the events of the old tale.  They’re all rather adept at this but Jake Jervis, appearing as the evil Stepmother and later as the Witch, is delightfully funny.  Luke Greenwood is charming as the Dad and a Chef (yes, there’s a Chef in it), while Kimisha Lewis makes for a feisty Gretel, fighting against the stereotypical behaviour the story expects of her.  Rishard Beckett is an expressive, energetic Hansel, but it is Vicki Taylor’s deadpan Duck who steals the show (yes, there’s a duck in it) – a running joke, or rather, a waddling one – holding up placards as speech balloons with immaculate timing.

Jake-Jarvis-Hansel-and-Gretel-Photo-Credit-Kate-Green-1024x683

Bake-off! Jake Jarvis as the Witch (Photo: Kate Green)

Kate Unwin’s costumes are like children’s drawings of the characters.  Her set of building blocks that are stacked up and reconfigured to represent the family home and the gingerbread house, add to the storybook-nursery feel, but setting them up and taking them down takes a lot of time and interrupts the otherwise fast-paced action.

On the whole, this is an amusing and charming way to spend an hour or so.  The back-and-forth between the Storyteller and the Mockingbird (excellently delivered though it is) could do with trimming to keep the pace punchy but, as the production embarks on a tour, I’m sure things will tighten up as they go.

Fun for all the family, this is an age-old story of child poverty, neglect and abuse – but don’t let that put you off!

Hansel-and-Gretel-Company-Photo-Credit-Kate-Green-1024x683

By the book: Luke Greenwood, Kimisha Lewis, Rishard Bennett, Jake Jarvis and Nicky Priest (Photo: Kate Green)

 

Advertisements

Far From Grimm

HANSEL AND GRETEL

Belgrade Theatre, Coventry, Thursday 7th May, 2015

 

This new version comes to the Belgrade courtesy of HighTime Opera company, a small-scale outfit whose mission is to bring opera to everyone and not just the elite few. With this production, they make a giant stride towards that commendable aim.

Adelheld Wette’s libretto translates the action from the traditional gingerbread cottage in the woods to a circus tent in a rubbish tip, swapping the Witch for an evil ringmaster. The grubby, big top setting (designed by Richard Evans) works for the most part, due to its built-in theatricality but I will own up to trepidation when a trio of clowns, (old-school Pierrot faces) perform in dumb show during the overture. The show is in danger here of becoming twee – these fears are dispelled as soon as the story gets going and the singing begins.

The new translation uses contemporary slang and modern-day references (television, Pukka pies…) to humorous effect, the witty rhymes a good fit for Humperdinck’s melodic score.

Alexa Mason is a magnificent Gretel, physically presenting a little girl and all her caprices and vocally one of the clearest I have ever heard. Sian Cameron is brother Hansel, all chavvy in hooded top and trackie bottoms. Both performers capture the childishness of the eponymous siblings – director Felicity Green gives them oodles of business. The stage is never static.

Wendy Dawn Thompson is their hard-nosed, hard-working (and yet trapped in poverty) mother, with a plaintive edge to her singing, while their father, a swaggering and affable Jon Stainsby is all optimism and tra-la-la. The contrast is highly effective.

There is a pleasing appearance by Caroline Kennedy as the Keeper of Birds and Charlotte Ireland impresses as a Magician. As the villainous, camp and cannibalistic Ringmaster, Oliver Marshall’s characterisation is delicious and I am sure his voice will develop more power as he gains experience.

The cast is augmented by a throng of local children who are incorporated into the action, singing sweetly and trying their best. Strange to see a story in which children run away from the circus!  But it is important to expose youngsters to this art form before any cultural preconceptions and prejudices set in, if opera is to be accessible to all.

Engelbert Humperdinck’s richly coloured score is served well, stripped down to a piano arrangement. Special mention must go to pianist Richard Black for his flawless, nuanced playing. Conductor Benjamin Hamilton keeps the whole thing ticking along, managing the timing of the action seamlessly with the tempo.

It’s an amusing take on the traditional tale (it’s more Roald Dahl than Brothers Grimm) and goes to demonstrate how small-scale productions can work extremely well, given an appropriate choice of material. This kind of treatment would suit something like Cosi fan tutte very nicely – but not so much Gotterdammerung!

Act1_Sc1_Dress8

Sibling ribaldry. (Photo: Peter Marsh @ashmorevisuals )