Hansel und Gretel
Englebert Humperdinck arr Derek Clark
Conductor: Johann Stuckenbruck
Director: Jack Furness
Susie Sainsbury Theatre. Royal Academy of Music
19 November 2024
Hansel und Gretel, as originally told by the Brothers Grimm is a terrifying tale of selfish, ruthless parents and cannibalism. So disturbing is it that when I was a child, my mother refused to read it to us or encourage us to read it because she said it was totally unsuitable for children. Adelheid Wette’s libretto for her brother, Englebert Humperdinck’s 1893 opera, tones down the horror somewhat but in this startlingly dark production, Jack Furness highlights the macabre as much as he can mainly though Gretel’s nightmares set to long orchestral interludes. It’s quite effective in places but the trigger warning is spot on. Don’t take anyone under 13.
The acoustic of the Susie Sainsbury Theatre and the position of the pit means that we hear every note and nuance of Humperdinck’s colourful score played impressively by Royal Academy Sinfonia. High spots included the overture, which introduces all the work’s threaded-through main melodies although I wish, as usual, that we were simply allowed to listen to it without pointless, distracting on-stage business with candles. Another good orchestra highlight comes when soprano Gertrud, the children’s mother (Zixin Tang – good) is angry and the lower strings are churning beneath her. And there’s a wonderful moment when the children are finally lost in the forest, the set opens out and the timp menacingly evokes their fear. Johann Stuckenbruck balances all these elements impeccably and, of course, the prayer sung, at the performance I saw by Erin O’Rourke as Gretel (who doesn’t look the part but sounds terrific) and Clover Kayne as a lively Hansel, was the tear-jerking, show stopping moment as it always is.
Alex Bower-Brown is strong as Peter, the children’s father – all good cheer and bottom notes – and we get pleasing contributions from sopranos Charlotte Clapperton and Abigail Sinclair as Sandman and Dew Man respectively.
The real star of the show, however, is Zahid Siddiqui as the Witch. He glitters in a black lace dress and uses physical theatre, as well as his silky voice, to convey charismatic evil. It’s an outstanding performance and one is almost sorry when he finally disappears into the oven.
There is a double cast for this show and all these roles are sung by different performers on two of the four nights in the run.
Meanwhile we are left wondering about some of the directorial decisions – or at least this audience member was. Of course there’s a lot of emphasis on food – this family is starving, after all. The gingerbread house is connoted by a scarlet screen of perspex strips which descends to surround all three sides of the stage. The ensemble (pretty good) at one point stand silently behind it, presumably representing the children the witch has already eaten. There’s a hint that Gretel is growing up and that her father doesn’t like it which doesn’t seem to relate to anything else. And the happy ending doesn’t seem to fit in with all this darkness and horror.
Ultimately, though, it’s Humperdinck and the quality of the singing and playing which count. And this production delivers those with plenty of promising, youthful aplomb.
