Opera performances are too rare in Perth and I am obviously
not the only person pleased to welcome the recent emergence of grassroots
companies like OperaBox and Lost and Found Opera. The Perth Town Hall was sold
out for the opening night of Hansel and Gretel, OperaBox’s fourth production
since the company was founded in 2011.
Humperdinck’s operatic version of the Brothers Grimm
fairytale is a strange mix of childish innocence and high art with its
gingerbread house, Wagnerian leitmotifs and an angel ballet.
The OperaBox production was simple, vigorous and appealing. The
production moves location for each performance so the makeshift set (Olivia
Tartaglia and Rhiannon Walker) relies on flats transformed by twinkling fairy
lights (the forest scene) and gingerbread stick-ons (the Witch’s house). First-time
opera director Sarah McKellar added modern touches. Hansel and Gretel skipped
around in overalls and beanies and the Witch wore furs with a wand doubling as
a cigarette holder a la Cruella de Vil. But the updating was mild; there were still
lederhosen and a gingerbread house, no iPods or Mars bars.
A cast of seasoned stage performers inhabited the stage
confidently. The resourceful Jenna Robertson sung Gretel with a winsome smile (she
also produced and marketed the show) and Alexandra Bak was a boyish Hansel stomping
and frowning while singing with rich rounded tone.
In an enchanting Act II ballet scene the children were
lulled to sleep by dancing angels (choreography Claire Thomas) and the Sandman
appeared in puppet form (a nod to McKellar’s R&J puppet production at the
Perth Fringe Festival) operated and sung by Emma Taylor who also sung the Dew
Fairy.
Thomas Friberg was endearing as the concerned Father rushing
into the wood to find his lost children. Eva-Marie Middleton’s flexible mezzo
soprano was warm as the weary Mother and shrill as the cackling Witch. Her
prowling presence dominated Act III although her centrepiece dance Hurr hopp
hopp hopp felt too polite.
The rich sound of the 30-piece orchestra (conducted by a
steady Christopher Dragon) was appreciated in moments like the rousing number
celebrating the death of the Witch. A professional pianist or small ensemble would’ve
lifted the standard but perhaps compromised the company’s aim to provide
opportunities to emerging artists, itself a major achievement. This entertaining
low-cost opera experience continues with performances at Victoria Hall
Fremantle on Thursday and Darlington Hall on Monday.
This review copyright The West Australian 2014
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