This production received a fairly savage review from ArtsDesk. Words like ‘chaotic’ and ‘misjudged’ were used. I’ve just made up my own mind based on what I saw and heard, and what I felt, as a result, is that the review was unfair. Also, this whole performance and the organisation behind it is about supporting young singers at the beginning of their careers and they need to be cut a bit of slack, I’d suggest. Maybe, as well, the singers probably need to experience a bit of regie theater as part of their professional development!
The story was relatively clear – up to a point. A theatre company is rehearsing Hansel and Gretel, though they are a bit behind schedule. Two disruptive kids come along with annoying parents to try to take part in the rehearsals. They are chased away and the parents are cross and take away the childrens’ phones; the latter then get lost, their parents can’t find them and they spend the night in the theatre. What doesn’t then quite hang together is what the wicked witch/dew fairy and others are doing there the next morning. So, I sort of got a bit lost at that point, but, on the other hand, this is where the music and text of this production were following fairly clearly the ‘normal’ version of the opera, so it didn’t much matter, and all ends well. The parents find the children and everyone sings a hymn to the power of music. I later learned that the parents had done a deal with the company to allow them to perform in the play – so that’s finally clear, then; I hadn’t appreciated the lady with clipboard directing the play at the beginning doubled as the witch!
The fact is that unless you just play it lavish, sugar-coated and straight, behind a proscenium and with a post-Wagnerian full orchestra, this work is always going to be a nightmare to present meaningfully to a modern audience. Reading the programme, I see that the director intends the production to be about the discovery of the theatre and opera by young people and celebrating creativity after lockdown. This does come across quite well – the climatic parts of the opera like the dream sequence use bric-a-brac, cloths and costumes to create a shimmering effect, as members of the chorus and the two children scrabble around with what’s backstage (the Sandman has some impressive blue flares).
I wouldn’t say this production was wholly successful but it did offer a scenario that was less than embarrassing and both kids and adults of all ages appeared to be enjoying it hugely
There were two, as it were, gimmicks. One was to issue each member of the audience with headphones that allowed you at points to differentiate what the parents were singing from what the children were singing or saying and which essentially amplified voices and ensemble. The other, apart from leaving out the overture (why?), was to have in addition to an ensemble of about 7 players a recorded full orchestra for some of the big moments like the dream music. There are also some electronic sound effects at points
At the end of the day I was as moved as I usually am by this odd work which shouldn’t do this but – the power of myth – really tugs at the heartstrings . The emotional centre of the piece – the Dream music – was very powerful.
Musically, all the young singers were good. If there was a standout it was Lauren Young as the witch who performed with rare energy and stage presence as well as having a very good voice. I see she’s covering for various roles at ENO in the 21/22 season and looks like being one to watch. Charlotte Bowden and Amie Foon as the two young children were also extremely good
All in all a worthwhile afternoon. My only question that leaves me a bit bothered at the end was why the witch seems to use the German text so often. If there is an equation here – speaking German = enhancing evil – this seems to be, to say the least, worrying.
John's musical journey 