Hansel & Gretel
State Opera South Australia
TICKETS: https://premier.ticketek.com.au/shows/show.aspx?sh=HANSELGR26
State Opera South Australia always put on a fantastic production and its new production of Engelbert Humperdinck’s Hansel and Gretel is no exception. Director Constantine Costi embraces the fantastical nature of the fairy tale while allowing its universal fears of hunger, abandonment and things that go bump in the woods to remain bubbling underneath.
No matter how many operas I attend, I remain astounded and
fascinated by the power of the human voice and its ability to fill an
auditorium like Her Majesty’s Theatre without amplification. Kangmin Justin
Kim’s countertenor as Hansel is the standout voice of the night, not only
because it’s such a rare treat to see a true countertenor take the stage in
Adelaide, but there’s a crystal quality to Kim’s voice that’s entrancing in its
innocence and playfulness.
Sofia Troncoso’s Gretel matches Hansel’s energy while
challenging him as an annoying sister should. Kim and Troncoso’s voices blend
beautifully, while their facial expressions are as over the top as only young
children can manage. Together, they capture the affection and irritation that exists
between siblings without losing the sense these are two children making their
own entertainment in difficult circumstances.
Morgan Pearse as Peter, the children’s father, is mercurial
in his ability to change tack on a dime. He moves from fun and flirtatious with
his wife, to angry at the children for breaking the new jug, to instantly
worried when he discovers they’ve been sent off into the woods. Any parent knows
very well the emotional whiplash children bring and Pearse embodies it with
ease.
Catherine Carby takes on dual roles of Mother and Witch,
normally played by two performers. As Mother, she is stern and frustrated by
the family’s destitution, while as Witch, she switches into something
wonderfully comic and sinister, such as the way a child might imagine the stern
old lady who lives at the end of the street when their imaginations run wild.
Carby gleefully embraces the wickedness of the cannibalistic Witch, complete
with a maniacal, stiff grin that’s genuinely haunting as she peers from inside
the sparkling gingerbread house. Judging by the audible comments from audience
members, the Witch certainly succeeds in being scary.
Lucy Stoddart, a relative newcomer compared with many of her
fellow cast members, clearly enjoys her moments on stage as both Sandman and
Dew Fairy. The audience rightfully appreciates her skill and vocal dexterity,
giving one of Adelaide’s emerging singers an enthusiastic reception.
Costi’s decision not to turn this telling into some gritty
reality production is most welcome. This production understands fairy tales
should be fantastical whilst commenting on universal fears and desires. The
exaggerated acting style never asks us to believe we are watching reality but invites
us into the flights of fantasy and fear children are prone to when their
imaginations run wild. The over-the-top facial acting and exaggerated movements
establish this from the beginning, giving the audience permission to laugh and
setting an almost pantomime-like tone.
The State Opera Children’s Chorus are at their most playful
as the crows, gleefully devouring the trail of breadcrumbs and all the
strawberries Hansel has collected. They show that Adelaide has some talented
up-and-comers if they choose to continue pursuing music, with the work
Children’s Chorus Master Anthony Hunt has done leaving them well prepared for
the challenges of performing on this stage.
Jonathon Oxlade’s set and costume design, paired with the
makeup, helps separate the real and imagined worlds. The family’s costumes lack
colour, relying on greys that emphasise their destitution. This is a family
who, if not for a lucky day selling brooms, would be hungry after the jug of
milk – the only food in the house – is broken.
That lack of colour allows the production to blossom as we
move into the in-between world of the children’s minds. The appearance of the
Children’s Chorus in the woods helps further cement that transition, while the
Sandman and Dew Fairy become more elaborate and colourful, Carby’s Witch stands
apart again. Her stark white costume, blood-red gloves and brilliantly wide wig
of red hair give the impression of some sinister mad scientist and create a
stunning silhouette.
The set is deceptively simple, centred around a copse of
trees on a double revolve, allowing the scenery to appear from behind as Hansel
and Gretel move through the woods, creating a constant sense of movement and
helping the forest feel like a place being created around the children. The
simple blocking works with the exaggerated performances, reminiscent of
pantomime – a performance style that has long drawn heavily from fairy tales
itself.
My one area of the production that I wish had been slightly
different was Bernie Tan-Hayes’ lighting design. The transitions from night to
dawn shining through the trees are amazing and genuinely moving with
Humperdinck’s score. However, the heavy reliance on wing lighting, whilst
casting some incredibly interesting shadows across the performers, leave
moments quite underlit whenever a singer was a fraction too far forward. Wing
lighting is very unforgiving when a performer is even slightly out of place.
The Adelaide Symphony Orchestra, as always, is in fine form.
Dane Lam doesn’t impose himself on Humperdinck’s score but pulls out what
already exists on the page. The music is lush, and having a 58-piece orchestra
in the pit is an absolute treat, especially in an era where more companies are
reducing the number of live musicians to at or near zero. The balance between
orchestra and singers is on point, allowing Humperdinck’s continuous score to
carry the story forward without ever overwhelming those on stage.
Hansel and Gretel is such a universal story that it makes
for a great step into the world of opera. While newcomers may not recognise the
arias in the same way they might when seeing Bizet or Mozart for the first
time, the familiar story, imaginative staging, performances and Humperdinck’s
sumptuous score combine to make State Opera South Australia’s Hansel and
Gretel an accessible and thoroughly enjoyable experience for newcomers and
opera aficionados alike.
- Scott
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