REVIEW: Hansel and Gretel at Sydney Opera House

Review by Michelle Sutton 

Opera Australia’s production of Hansel and Gretel at the Sydney Opera House is a fun-filled spectacle for all ages. Engelbert Humperdinck composed Hansel and Gretel in the late 19th Century with his sister Adelheid Wette writing the libretto. The first performance of the opera occurred in1893. David Pountney is credited for the English translation which is used in this production. 

Hansel and Gretel are played brilliantly by adult performers, Margaret Plummer and Stacey Alleaume. Plummer and Alleaume are playful and mischievous, creating a believable sibling dynamic and inhabiting the surrealist set as curious and sometimes scared little kids. Baritone Shane Lowrencey delivers a warm and humorous performance as the Father of Hansel and Gretel. Helen Sherman presents clear vocals and a strong characterisation of the gritty, worn-down Step-Mother. Jane Ede has a wickedly fun time bringing the witch to life on stage. Ede is charmingly and delightfully evil as the famous Brothers Grimm villain. Ede is truly a master of her craft, floating around the stage and commanding the audience with her tantalisingly menacing vocals. 

The set and production design in Hansel and Gretel is playful and mesmerising, with no-expense spared. The set truly transforms the stage of the grand Joan Sutherland Theatre into an enticing, mythical, fairytale fantasy world. Set designer Mark Thompson plays with scale, colour and texture to create an overwhelmingly enjoyable experience of curiosity and delight for the eye. The opera opens to the interior of a modest family cottage, with painted walls, evoking a sense of folklore and a time long ago. The forest set design is surprising, forgoing the predictable leaves and trees in favour of a giant over-sized door, floorboards and part of a railing. This does a marvellous job of reinforcing that Hansel and Gretel are children, whilst also suggesting that the forest is an extension of the children’s imagination and domestic lives. The witch’s house is also surprising, taking the form of a giant pink frosted cake. The lighting by Nigel Livings aids in the haunting and mysterious atmosphere and in conjunction with the set brings the sense of childhood magic and nostalgia to life. Mark Thompson is also responsible for the costume design in the production which is inspired by late 19th century German attire. Led by conductor Tahu Matheson, The Opera Australia Orchestra is excellent, showcasing just why Humperdinck’s score has stood the test of time. The Opera Australia Children’s Chorus is a real treat at the end of the show, with the ensemble displaying some of Thompson’s most creative and playful costuming and with the chorus performers demonstrating a huge amount of exciting emerging talent. 

Claudia Osborne has served as revival director bringing Elijah Moshinsky’s greatly admired whimsical production to the stage once again. Osborne has ensured that Opera Australia’s production of Hansel and Gretel is a tremendous success. With dazzling sets, pristine vocal performances and a faultless orchestra, Hansel and Gretel is a fabulous and accessible night at the Opera for audiences of all ages. 

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