Hansel and Gretel

From the first notes of the overture to the lifting of the curtain to reveal the forest trees, magic and mystery is upon us. To that, add the humanity of two young children, trapped in poverty, and their parents who struggle as best they can. Finally throw into the mix a Witch, who seeks to charm and cajole, but fails to mask her inherent spookiness. A children’s chorus, as protective angels, a Sandman who brings comforting sleep and a Dew Fairy who brings the joy of the morning, all serve to offer hope. Being a fairy story there is a happy ending, and the hope that all live happily ever after. Except the witch, obviously.

Much of the action belongs to Hansel (Kangmin Justin Kim) and Gretel (Sofia Troncoso). Under the inspired direction of Constantine Costi,  their dance duet is a cheerful romp, Gretel being the older, and slightly bossy sister while Hansel being an annoying scamp who proves his mettle later. With assured singing and movement they carry the story along. Truncoso’s singing at the opening the final Act is quite beautiful. The famous  evening prayer, which they sing earlier is also delight, as their voices blend. Finally they outwit the witch, and return, through the forest, to their parents.

Catherine Carby as both Witch and Mother is a tour de force. In an interview on Kaleidoscope, she promised ‘to have fun’ as the witch, and wielding her broomstick or her wand in the shape of a large stirring spoon, she holds not only the children, but also the audience in her thrall.

Morgan Pearson as the Father establishes that, as a father and husband he has the best of intentions, with limited success. In this case he has brought home lots of food and relief for them all. 

Lucy Stoddart sings the dual roles of Sandman and Dew Fairy. In both she shows why she is ready for larger roles in future.

Nor should I neglect the State Opera Children’s Chorus, guided by Anthony Hunt. Their singing, and role as guardian angels, brought an almost mystical feel to the story. 

All of this is accomplished through the Adelaide Symphony Orchestra, supporting and bringing the leitmotifs to life under the direction of Dane Lam; the set design, cleverly portraying the poverty of the household, the mystery and menace of the forest and the menace of the Witch’s Kitchen with its oven smouldering in the background. Earlier two large hands reaching for Hansel and Gretel, from each side of the stage, epitomised the witches evil intentions.

Was this all a dream, experienced by Hansel and Gretel, inspired by their hunger, fear of the forest and a yearning for a better life, as suggested by Costi? Or does it reach back to folk lore, to a time when witches and angels were credible beings? Does it matter when Humperdink’s music, the singers, their acting and the stage  setting all combine to produce a wonderful night at the opera?

State Theatre Opera Company

Her Majesty’s Theatre   August 21-29

Images: Andrew Beveridge