Director: Erica Whyman
Reviewer: Ian Cain
The festive season has already got off to a fantastic start in the North East, with Northern Stage’s production of Hansel & Gretel. Stephen Sharkey’s stylish adaptation of the fairy tale by The Brothers Grimm is given a strong local twist through North East settings, dialect and music, which works well. Billed as ‘an entertainment in two acts showing the tyranny of appetites, natural or otherwise, with songs and dances for the amusement and instruction of the young,’ this production is a welcome and refreshing alternative to the traditional pantomime.
Sharkey presents a version of the tale that is faithful to its roots as a folk story, told to European children for centuries, yet which is also relevant to a contemporary, twenty-first century audience. Scott Turnbull and Lisa McGrillis are both excellent as Hansel and Gretel, perfectly depicting the mannerisms and characteristics of the two children right down to the last nuance. Their beloved mother, Gretchen, has died and is ‘buried under a cherry tree in Hexham’ and their father has remarried. Tony Neilson cuts a forlorn figure as the father who tries his best but never comes up with the goods, whether it be work, money or food. His portrayal of the hapless, hen-pecked husband and doting Dad is tender and touching. Libby Davison relishes her role as the wicked stepmother and her performance skilfully combines cruelty and comedy, dominating every scene she appears in.
The magic and mystery heightens when Hansel and Gretel become lost in the woods and encounter the wood folk, who turn out to be a group of goblins who work for a wicked old sorceress, known as The Beast Of Kielder Wood. Pat Dunn is devilishly delightful as the cannibalistic old witch and she makes the most of some great moments, particularly the scene in which she greedily devours Hansel. Laura Norton gives a convincing performance as Blackie the Cat, moving with the grace, agility and litheness of a feline. Steve Hawksby is suitably majestic, wise and benevolent as Saint Nicholas, complete with flowing, fur-trimmed, traditional green robe.
Vicky Elliott gives a star turn, personifying The Moon, and bearing slightly more than a passing resemblance to Bette Davis in Whatever Happened To Baby Jane? She spends almost the entirety of the play perched on a swing, watching over Hansel and Gretel. Her performance is a highlight, although I did feel that she was slightly under-utilised.
The production values are first-class. The forest set is eerie, evoking a sense of darkness and danger and the witch’s candy-covered caravan is absolutely magical and spectacular. Neil Murray should be commended for his imaginative design which cleverly integrates gothic darkness and magical enchantment. Ian Scott’s lighting design skilfully reinforces these moods. Alison Stringer and her wardrobe team are to be congratulated for their wonderfully understated costumes which also contribute to the style and tone of the piece.Tim Dalling’s musical composition and Debbi Purtill’s choreography are perfectly teamed and the result is inspirational. The incorporation of folk dances being performed to accompaniment from an accordion, fiddle and the Northumbrian pipes, really adds a sense of authenticity. Erica Whyman’s direction has pace but is not rushed and the piece retains the attention of even the smallest child throughout.
As said before, this is not a typical pantomime – more of a seasonal play – so don’t go to Northern Stage expecting audience participation and custard pie fights. However, what you will experience is a well-crafted, enchanting and uplifting play that will leave you feeling more than just a little festive. Highly recommended!
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