Hansel & gRETEL → State Opera South Australia
Friday 22nd August, Her Majesty’s Theatre
FIVE STARS
The renowned fable of Hansel and Gretel exists to teach us about greed and courage. Then in 1890, German composer Engelbert Humberdink gave this tale an operatic transformation. Today, it's in the hands of the State Opera of South Australia, who have re-ignited the story with a nostalgic, yet unsettling, nightmarish edge.
Celebrating 50 years as a company, State Opera South Australia is showcasing more new productions this year than any other opera company in the country. This is a milestone achievement and wildly impressive considering the challenges facing the arts in this country at the moment. This August, Hansel and Gretel and Sonheim's Into The Woods will be playing at Her Majesty’s on alternating evenings - bringing in new audience members and loyal opera fans.
As a patron relatively new to the opera scene, I think the reservations that people have about seeing an opera is the assumption that they “will be bored,” “it's all singing,” or that it's “too hard to follow.” My rebuttal against these claims is that this production gives you very little opportunity for your mind to wander. State Opera’s Hansel and Gretel expertly taps into that universal anticipation of the unknown despite this story being familiar. The combination of all production elements instantly asserts that this re-telling will be different by tapping into the audience’s sense of cautious curiosity in order to gently lure us into the story.
Hansel and Gretel is sung in German, and is the first opera that I have seen in a different language. English subtitles are displayed on the sides so we can follow the narrative. Another key detail for patrons who are unfamiliar, is the performers all sing without microphones!
Prior to the show, artistic director and conductor Dane Lam introduced the Adelaide Symphony Orchestra in the pit below, stating that in a climate where orchestras are being replaced by technologies, it is all humans who sit below tonight - as it should be.
As the orchestra begins to gently swell throughout the theatre, the curtain rises to forest on a rotating stage. For quite some time, the stage spins to show us glimpses of the trees and house as the orchestra plays. This extended introduction is truly magical, almost meditative in how it gradually immerses us into this setting.
When I first think of Hansel and Gretel, I think of a colourful fairytale: vibrantly coloured candies, giant gingerbread houses, cheeky children and whimsical forests. However, Director Constantine Costi and Lam have taken this production elsewhere. The forest setting is dark and eerie, the children are dressed in grey, all the main characters appear almost clownlike, and the witch behaves like a villain from your nightmares. The family of four live in unsettling poverty showcased by their ragged clothes and tiresome faces.
Playing Hansel, is Kangmin Justin Kim, who is making his Australian debut— a blessed treat to have considering his status and recognition worldwide as a countertenor. Gretel is performed by American soprano Sofia Troncoso, with equally impressive credits. Together, they are an incredible brother-sister duo to watch. In act one they are mischievous and immature and nail the child-like mannerisms and comedic timing.
Catherine Carby plays the mammoth dual role Mother and the Witch. She is powerful and stern when she arrives home to find the children have failed at the chores, and scarily orders them to collect berries. Her mezzo soprano voice flies powerfully above the orchestra in each scene.
In the forest, is South Australian soprano Lucy Stoddard as the Sandman, who hypnotisingly sends the children to sleep. I ponder, does the nightmare actually begin here? Are we now in the minds of the children witnessing their deepest fears? When the witch's giant hands slide out across the stage we too are left feeling the same ominous fear as Hansel and Gretel on stage. Even when Stoddard whimsically returns in act two as the dew fairy, the stage remains dimly lit and smoke continuously drifts across the stage, adding to this impending sense of the unknown.
We know the witch is coming, so when Carby returns with red hair, a white surgeon-looking gown with high shoulder pads and wildly sinister eyes, we feel the same terror as the children.
The first scene with the witch is humorous as the children are gently persuaded by sweet candy and take turns nibbling at the sugar covered house that sits on the witch's head. This scene did make us laugh, especially when the witch calls them “little mousey.”
Then, in a dramatic turn, from the ceiling lowers a grey, industrial kitchen, an impressive creative choice by designer Jonathan Oxlade. This kitchen is terrifying, the knives swing on the walls and the oven in the centre smokes red plumes. The wall is placed quite close to the front, therefore bringing the performers downstage, really close to us…! Even though we were watching, the audience becomes exposed to the witch’s glare, Carby eyeing the audience as if to remind us that we are also not safe. When Hansel and Gretel heroically push her into the oven, there is a collective sigh of relief!
The State Opera’s children’s chorus play the forest fairies and previously-devoured children. At the conclusion, they emerge to sing and enjoy the gingerbread witch. They collectively give a sweet and well-rehearsed performance.
It's important to recognise that the only ways that technology was interfering with this production was for the lighting and haze effects and the subtitles. All other theatrical elements were completely human: live orchestra, live voices, no microphones or audio mixing, and physical sets. It truly is a unique theatrical experience, one that proves that stepping outside your usual theatre comfort zone can be surprisingly rewarding. For opera newcomers, Hansel and Gretel is a wonderfully atmospheric show to start.
~ By Sophie Tsoulos
Show Run: till 29th August
Theatre: Her Majesty’s Theatre
Tickets:https://www.stateopera.com.au/
Photo Credits: Andrew Beveridge