Review: The Royal Winnipeg Ballet's HANSEL & GRETEL at the National Arts Centre

NAC Dance’s presentation of The Royal Winnipeg Ballet's Hansel & Gretel is completely unhinged, in the best possible way. It is definitely not a traditional retelling of The Brothers Grimm fairytale. In an unlikely blend of film noir, vaudeville, Broadway, and the Golden Age of Hollywood films, Hansel & Gretel includes classical ballet, contemporary dance, and even jazz hands. Should it work? Not a chance. Does it work? A thousand times, yes!

When I say there is something for everyone, I'm not kidding. Hansel & Gretel is a virtual smorgasbord for the senses. The show’s title screens make it seem like we are about to watch a film from the silver screen, rather than a live theatre production, setting the stage for what is to come. This is further accentuated by the costumes and set design, both by Kate Hawley, crafted entirely in greyscale. The first part of the production has a definite Wizard of Oz vibe; a gusty rainstorm even makes a brief appearance.

Hansel (Liam Saito) and Gretel (Julianna Generoux) are from a poor family; their father (Stephan Azulay) is a broom maker who tries, unsuccesfully, to sell his handcrafted brooms on the street (in some foreshadowing, his brooms are reminiscent of witches’ brooms). Taunted by the other children, Hansel and Gretel cannot afford the giant ice cream cones peddled by the Ice Cream Witch (Jaimi Deleau). For this family, supper is a mere piece of bread. However, the family is a loving one, demonstrated by the mother (Katie Saito) and father’s touching dance. In a fit of naughtiness and rebellion, Hansel and Gretel steal the remainder of the bread and set off into the woods, leaving a trail of breadcrumbs to ostensibly find their way home. Here, the atmosphere shifts into film noir, with trees of shadowy forks lining their path. No sooner than the bread is dropped, a flock of birds literally sweep them away. There are moments of brightness in the woods as well, such as when the Fairy King (Marco Lo Presti) and Queen (Kyra Soo) perform an unexpected tango under the moonlight, and when the Sandman (Logan Savard) sprinkles glittery sleep-inducing sand over the children.

Hansel and Gretel awaken from their slumber to find themselves in front of a deliciously decorated gingerbread house. How can they possibly resist? The beginning of the second act throws the first on its head; we are immersed in a palette of vibrant colours; the candy apple reds, bubble gum pinks, and indigo blues are a visual feast after the sombre entrée. Here, we have a perfectly choreographed can-can number, providing us with a floorshow while the children are served larger-than-life plates of food that they gluttonously devour. Once Hansel and Gretel have eaten their fill and collapse into a food coma, the Ice Cream Witch’s true nature is revealed. She transforms into an evil witch (Joshua Hidson), her clawlike hands reminiscent of Nosferatu, while her green face and sparkly red shoes are another nod to the Wizard of Oz.

The background screens are used to brilliantly to set the tone, ranging from classic horror vibes to a psychedelic dreamscape. The NAC Orchestra performs Claire Cowan’s jazzy score. With the incredible set design, props, and costumes, it is easy to overlook the fact that this is an NAC Dance presentation. The choreography, by Loughlan Prior, is outstanding and the talent of every dancer is undeniably on display. It is no small feat to perform challenging, technical dances with intricate footwork and lifts, while adding physical humour and emotional depth to their performances. I would see this show again and again to see all the minute details I undoubtedly missed.

Advertised as suitable for children ages 5 and up, Hansel & Gretel has a couple of darker moments that may be unsuitable for the littlest audience members, but they are short-lived. I am truly impressed with the show’s production value. Hansel and Gretel is glorious - simultaneously dark, funny, and unconventional. On stage at the National Arts Centre’s Southam Hall until October 25th, get tickets at the link below or click here for more information.

Ottawa Awards - Live Stats

Best Musical - Top 3

1. NEXT TO NORMAL (Elevator Theatre Company)

12.9% of votes

2. THE PROM (Suzart Productions)

10.6% of votes

3. LEGALLY BLONDE (Carleton Musical Theatre Society)

10.4% of votes

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