On Saturday I saw Kneehigh’s Hansel and Gretel in Bristol. There was much to admire about the production, even while waiting around in the foyer before it started. There were themed props everywhere: a house made of bread; rustic-farmhouse-kitchen-style furniture and books; oranges stuck with cloves; recipes on blackboards. The attention to detail was brilliant. Rather than go the conventional way to find our seats, we were told we could choose one of two side passages: the ‘witch’s’ way or the ‘Hansel and Gretel’ way. We went the witch’s way. Every little dark and dank nook and cranny of the Old Vic had been decked out in fittingly spooky style. During the interval we explored the Hansel and Gretel way too, and found gingerbread men hanging from red ribbons, and a playroom-like scene with a colourful, stuttery film playing on a loop.
The stage set was kept relatively free of props. In resourceful Kneehigh fashion there was a large metal frame and various sorts of contraptions that were used inventively throughout the show. Their customary live music, singing, and quirkiness in use of movement and props were all in abundance. There were some excellently bizarre performances, especially from Giles King as Hansel and Gretel’s mother/Hamlet, the witch’s assistant. The scenes in the witch’s house were great, too: appropriately grotesque, dramatic and disconcerting.
I have to say, though, that I didn’t think it was one of Kneehigh’s best performances. The elements were all there, but it did not seem to come to life in as glorious a way as most of their previous shows have done. I found the first half of the play quite slow. I found it difficult to get into the spirit of it. I knew it was supposed to be a children’s-panto-with-a-twist, like Rapunzel, but it did not hit the right notes at times. The kids in the audience seemed to be enjoying it, though. It could just be, of course, that I am too grumpy, old and cynical for Kneehigh now; but I hope that’s not the case.