Review of ‘Hansel and Gretel’: “A sweet journey, but far from the greatest British bake off”

The cherished children’s story relives at Shakespeare’s Globe, through this new adaptation taking the youngest audiences into a first, multidisciplinary theatrical experience. Guillermo Nazara shares his views on the show, to let us know if this retelling of the treacly classic ends up feeling like a candy house trap.

Every time that a children’s classic comes to mind, I can’t help but thinking of how horrific the originals were in comparison to the charming “happily-ever-after” tales we all grew up with – except the Germans, perhaps. They’re actually quite traumatising. Hansel and Gretel is no exception – not even from minute one. Their parents are experiencing financial difficulties, so they come up with an idea to keep the family afloat: cut it down to two by taking their children to the forest and leaving them behind there to die. So next time you think your folks are being too harsh on you, just remember: you can do the same to them in return!

Fortunately enough, Shakespeare’s Globe has taken very little inspiration from the brutal style that so vividly (no pun intended) characterizes the writing of its eponymous author and his contemporaries. Don’t worry, though – the man-eating witch you’re so desperately wanting to see (whatever that actually means…) is still there. And you can rest assured that her fate is sealed with that cauldron (no pun intended). But the show is advertised for 5 to 8 year-olds, and it serves that purpose rather decently. It’s fun, entertaining and, to some extent, culturally enriching.

Written by Simon Armitage, the piece pays homage to the stage it plays on, by weaving its recount through a Renaissance-inspired pattern that combines traditional couplet-based poetry, open verse, spoken lines, and sung-through parts. A blend between Elizabethan and contemporary musical theatre, the montage manages to deliver an amusing journey built upon artistic sensitivity. There are slight touches of poignancy sprinkled all through its overall humorous approach. And its engaging, light-hearted content is also built with a fair level of attention to its aesthetics.

Yet, by the end of the performance one can’t help but feel as if we haven’t been given enough. Despite some excerpts been carried out with utmost impeccability, some other bits lack the same degree of development – all in all, hinting the sensation that the story moves forward a little too fast, without allowing many key components to properly unfold and, subsequently, provide a fully evolved and satisfactory arc.

One may argue, and they wouldn’t be wrong, that for a kids show, there’s as much as you can tell when you intend not to exceed a one-hour run. But that’s precisely the point: if you need to keep its duration short for a specific kind of audience, the same amount of editing must be put into the elements you include throughout the narrative.

However, there are many aspects of the production worth of considerable praise, starting from its rather imaginative depiction of Hansel and Gretel’s adventure – setting up a dynamic, and somehow inspired imagery that utilizes modern, everyday tools to portray the wondrous world its personages lurk into.

At the same time, the company does an excellent job at letting the piece come to absolute life – through vibrant renditions that flaunt a great deal of flair, as well as rapport and effortlessness. Among them, the highest mention goes to Beverly Rudd in the double-role of the Mum and the Witch (aren’t they both always related…?) – exuding incredible comedic skills, apart from reinvigorating showmanship and compelling vocals.

A brain candy of an act inviting the youngest viewers into a first theatrical experience full of fantasy, excitement and allure, Hansel and Gretel leaves a solid trail of enjoyable assets which, if further polished, could ultimately result into one of the most prominent versions of the story – standing on the top of the public’s mind, and even staying in that position across generations. Yet, there’s still quite a lot more kneading and confectionery to do until the gilt is fully applied on its gingerbread. It’s a nice stagy appetizer, but it still misses enough succulence to tempt audiences into gorging on it.

All pictures credit to Ellie Kurtz.

Hansel and Gretel plays at London’s Shakespeare’s Globe until 5 January. Tickets are available on the following link.

By Guillermo Nazara