Hansel and Gretel

The Sinodun Players’ traditional pantomime is an annual treat, and the company understands the genre perfectly.  It’s in the Players’ DNA, as demonstrated by the fact that this adaptation of the Brothers Grimm’s classic tale by group member Marilyn Johnstone was previously staged in 1991, with the director of this year’s production playing the Golden Bird.  Marilyn knows exactly what’s required in a pantomime, and it was all here: the forces of good and evil embodied in The Golden Bird and The Wicked Witch; a principal boy and a beautiful princess; a comedy duo and an extrovert dame; plus a couple of junior leads in the titular roles, supported by a company which included plenty of young actors and dancers.

This was a properly family-friendly pantomime with nothing to offend, and only a few dodgy definitions or occasional moments of mild innuendo.  There were lots of jokes, some of which landed better than others, but the troupes of brownies and guides certainly enjoyed them; the verbal humour was complemented by some old-fashioned slapstick, particularly in the Castle kitchen.  There was even a reference to the six-seven meme which I might well have enjoyed if I had the first idea what it’s about.  Plus, of course, there was plenty of audience participation: call and response, booing the baddie, joining in with the songs and competing with the other side of the auditorium.  I regret that the days of throwaway sweets have gone, but no matter – I still had a great time!

The principals were supported by a team of young dancers playing the woodland creatures.  The performers were able to bring out some appropriate individual characteristics thanks to excellent costumes and expressive choreography.  Further support was provided by the chorus of sprites, waiters and so forth: the dance routines for these groups were more inclusive, but the sequences were executed with evident enjoyment and finished with crowd-pleasing tableaux.

The settings are often a striking aspect of the Sinodun Players’ pantomimes, and “Hansel and Gretel” was no exception.  Writer Marilyn Johnstone was able to carry her vision through into the set and costume designs, and she came up with a colourful and practical concept in a cartoonish, picture-book style.  I always like to see the same design concept employed in the publicity and onstage, and the settings evoked the stylised illustrations of the poster and programme with their strong black outlines and extensive use of block colour.

The costume design complemented the set in its Tyrolean theme, with plenty of braces and feathered hats in the chorus.  The principals’ costumes respected both the setting and the expectations of pantomime, as evidenced in Prince Dieter’s tunic and high boots, Hansel and Gretel’s familiar alpine outfits, the Wicked Witch’s striking black gown and the brown and green palette utilised for several of the other principals’ outfits.  The Dame, of course, rose above any considerations of style, or colour palettes, and wore frocks which were veritable explosions of gaudy excess.  There was even a proper costume change-up for the final walk-down, with most of the cast turning up the showbiz style in black and gold outfits.  Fabulous!

The Sinodun Players are reliable producers of first-class seasonal entertainment, and this presentation of “Hansel and Gretel” didn’t disappoint.  The clear vision of the creative team, the expertise of the crew, and the experience and talent within the company resulted in another high-quality and memorable production.

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