German composer Engelbert Humperdinck’s late 19th century operatic version of Hansel und Gretel tells the story of the two young siblings who defeat a force of evil with immeasurable appeal. The bubbling melodies and folk tunes, evocative musical landscapes and interjections of darkness that characterise Humperdinck’s three-act work make it one of the great operatic gems.
That treasurable quality is indeed on show in the latest production from director Jane Davidson and the students of the Melbourne Conservatorium of Music, Victorian College of the Arts, University of Melbourne.
At Wednesday’s opening night, the cast brought great enthusiasm to the stage, being both well-prepared in vocal delivery and physical performance. And the music shimmered and simmered along engagingly under conductor Richard Davis who coerced superb work from his 11 musicians in the pit and his two percussionists, one at either side of the stage.
From my centre-left position four rows from the stage, some issues with the evenness and balance of music, however, were evident – notably the percussive differential. Vocal dynamics, too, occasionally suffered as sound was lost to the large rear stage area. Nevertheless, kudos to all for the depth brought to the work.
As one of the most recognised stories among the Brothers Grimm collection of folktales published in the first half of the 19th century, Hansel und Gretel – like many of their popularised tales – is awash with themes that have something to say about morality.
Hansel und Gretel concerns the often hard decisions to be made that can perhaps be morally questionable and how, despite the obstacles and evils in life, we can survive. Those themes are explored in the darkest of ways in Davidson’s production that deals with the tension in spelling out its moral content whilst also, interestingly, raising ideas concerning the sins of Christianity.
The stage is spread with a series of arbitrarily arranged and distressed-looking timber frames and supports as part of Timothy Rutty’s impactful set design while Oliver Hall’s costumes hark back to a past era of rustic simplicity.
During the long, lush overture, village scenes and activities play out, none more curious than a mysterious black-caped figure giving a public lecture to great applause. More is revealed later.
As the story gets underway, the timber sections come together to form a strikingly outlined deconstructed cottage with Hansel (Chloé James) and Gretel (Lisette Bolton) making their appearance – avoiding their chores while Mother (Saskia Mascitti) and Father (Nicholas Beecher) are away.
Rutty’s timber set pieces are moved into various forms that subsequently conjure the forest and the inners of the Witch’s gingerbread house, identified by handheld light-boxes brought into position by six dancers.
And when the Witch (Mitchell Sanders) appears, dressed in a black chasuble and twin sashes with a short cape, ecclesiastical-like, the penny drops. In an audacious turn, Davidson’s Witch cannot be anyone but the very representative of a person of God who preaches Christian morality.
When the Witch restrains Hansel and presses his body against him and tempts him with a big treat, it’s impossible not to feel the sins of the Church. It’s also hardly surprising then that cardinal red predominates in the Witch’s house as part of Thomas Vulcan’s overall persistently gloomy lighting. The timber frames begin to look like a field of broken crosses.
Evil lurks in the very institution morality is preached from. Yes, we can find comfort in its words and promises if we choose to but questioning and holding to account those who deliver it is essential. Hansel and Gretel take that into their hands in a (justifiable) murderous outcome not simply for survival but for the redemption of fellow innocents.
James’ scallywag Hansel and Bolton’s precocious Gretel are a luminous and endearing pair from the moment they entertain with their opening zippy duet in praise of rice pudding.
Each brings astute emotive energy to their part, carrying the story forward effortlessly and always harmonising beautifully. Together, in one of many highlights, their Act 2 Evening Prayer invoking protection from 14 angels is a heavenly rendition that melts the heart.
Beecher is especially and impressively primed as the hardworking Father, confidently singing among the audience on entry and cutting through the orchestra with his charismatic burnished baritone.
Mascitt, too, gives a strong performance as the desperate and exasperated Mother and Sanders’ sings with commendable and commanding force as the Witch.
Sofia Imperatore brings mellifluousness and sparkle to songs of sleep and waking as the Sandman and the Dew Fairy and 9 young women as the children freed from the Witch’s spell add to the jubilant finale with a rapturously sounding chorus.
Sung in German with English surtitles – an opening night glitch of several minutes certainly had everyone wondering if a translation was coming – Davidson’s interpretation ticks off many facets of the work with praiseworthy thought. And while lessons may have wrapped up for the academic year, the festive season is only just beginning to entertain with lessons of its own. Savour the opportunity!
Hansel und Gretel
Union Theatre – Arts and Cultural Building, The University of Melbourne, Monash Road, Parkville
Performance: Wednesday 11 December 2024
Season continues to 14 December 2024
Bookings: www.eventbrite.com.au
For more information, visit: www.unimelb.edu.au for details.
Images: Chloé James as Hansel and Lisette Bolton as Gretel (supplied) | Mitchell Sanders as Witch and Lisette Bolton as Gretel (supplied)
Review: Paul Selar