“Keeping Grimm’s Magic While Shining a New Light”

Reviewer: Isaac Tan
Performance: 12 April 2019

Grimm’s tale of Hansel and Gretel is full of action, tension, and the cleverness of children outwitting horrible characters. But what significance does it hold for children apart from entertainment?

Perhaps playwright Suzanne Lebeau had a similar consideration when writing her adaptation, Gretel and Hansel.

The show throws a spotlight on Gretel and her resentment of having a younger brother, who seems to be getting all the attention. This resentment grows to a point in which Gretel even considers harming Hansel when they are both tricked by a witch. But Gretel soon sees that she is nothing without Hansel, and much of the original plot then plays out from there.

Lebeau succeeds in keeping the magic and grittiness of Grimm’s original, while introducing a topic that will be familiar to most children who have siblings. The only problem I have is that the sudden dissipation of animosity seems like a cop-out.

This is especially so when in an earlier scene, the siblings seemed to share a bond as neither of them ratted each other out to their mother after a fight. Additionally, why Gretel realises that she is nothing without her brother is also not made clear to the audience.

Apart from those minor flaws, Daniel Jenkin’s taut staging of the show makes this the second children’s show that I did not have to question if the seven-year-old me would have had a good time. (The first was Charlotte’s Web, also staged by The Little Company.) I thoroughly enjoyed the performance as an adult, and the eagerness of the 400-odd children in the theatre appears to be a resounding concurrence with my opinion.

I was surprised that the show was a two-hander. Where is the fun and excitement without having an actor playing the wicked witch? However, Tia Andrea Guttensohn and Joshua Lim as Gretel and Hansel are wonderful.

Both show a great deal of versatility in play-acting the other parts, such as manipulating costumes on hangers to represent their parents, or Guttensohn embodying the physicality of the witch, while a silhouette is projected onto a cloth. As the titular characters, Guttensohn has a lot of spunk, while Lim’s innocence is utterly endearing.

Despite the limitations of the relatively small stage, Petrina Dawn Tan’s set design and Gabriel Chan’s lighting design are ingenious. Flip half of the house like turning a page of a book and the children’s house becomes the witch’s candy house. Let Chan cast a swirling light pattern on it, and we sometimes forget that it is largely the same set. Need a forest? Simply draw a white curtain with motifs of trees on it, as Chan casts light to reveal and conceal what is behind.

Finally, it would be remiss of me not to credit Leonard Augustine Choo’s beautiful costumes, which are largely inspired by the 1940s, but with some modern touches to complete the look.

Gretel and Hansel is such a treat that I regret not bringing a child along to share the joy of this lovely show.

“Drab in the Hat”

Reviewer: Isaac Tan
Performance: 11 August 2018

When watching a children’s show, one would expect the audience to be raucous, as parents try to balance between letting kids be kids, and maintaining public order.

But for The Little Company’s Mandarin staging of The Cat in the Hat, the audience remains relatively quiet, save for the occasional chuckle.

No, the parents did not spike their children’s orange juice with sedatives. Rather, it is because the show feels like a five-minute comic act on a talent show that goes on for 40-over minutes.

The plot revolves around two children who are sad that they could not go out and play due to the rain. Suddenly, the cat enters; does a balancing act; unleashes two devilish creatures who proceed to make a dog’s breakfast of the house (much to the dismay of a very sensible pet fish); the cat offers to clean up; mother returns home.

Commiserations go to the cast – Hang Qian Chou as The Cat in the Hat, Sugie Phua as Boy, Ann Lek as Sally, Trey Ho as Fish, Ong Yi Xuan as Thing 1, and Claris Tan as Thing 2 – who have to bust their guts every show trying to make an essentially pointless show entertaining.

That said, all of them display a good grasp of physical dexterity in executing the various movement sequence, as well as timing their actions to the sound cues.

Equally pointless is the incessant voice-over narration that defeats the purpose of live theatre. To make things worse, the timbre of the voice-over is muffled.

In sum, apart from the high production values, there is very little of Dr. Seuss in the show.

With nothing more to say about the show, I will devote the rest of my word count to one boy, who should aspire to be a critic.

As the show reached its 30-minute mark, a boy sitting behind me remarked, “This is getting boring.”

The mother and her two children sitting beside me immediately turned around, possibly shocked by his audacity or annoyed at being interrupted, much to the embarrassment of the boy’s parents.

“What? It is getting boring,” said the boy, clearly not backing down from his opinion.

I had half a mind to turn around and offer to buy him some ice cream. Alas, professional obligations only permit me to crack a smile in the darkened stalls.

“The Nightingale’s Silence is Golden“

Reviewer: Lee Shu Yu 
Performance: 13 March 2018

Many expect children’s theatre to be bigger, louder and bolder in order to capture the hearts of their young audiences. The Nightingale by The Little Company does this brilliantly. Just as the bird’s failure to sing proves to be a pivotal turning point in the play, this production can afford to use silence to add texture to the performance.

Otherwise, it can descend into a mere shouting match.

Back by popular demand, The Nightingale is a colourful and flamboyant treat based on the fairytale by Hans Christian Andersen. The original story is of an Emperor’s friendship with a Nightingale, whom he replaces with a mechanical replica.

Written by Mike Kenny for its first run in 2014, The Nightingale foregrounds the Emperor’s naïve materialism and selfish oppression as he tries to domesticate Nightingale. The moral lessons are clear, which makes this production educational and worth catching.

The Emperor (played by Leslie Tay) is trapped in the Forbidden City, visibly indicated by the set: walls of the palace folding and encaging him in transitions. Most striking is Erwin Shah Ismail’s character, The Protector, who, with his great energy and deliberate melodrama, slaloms entertainingly from the strict Protector to a comic care-taker frightened of the outside world.

Embellishing characters with these traits and idiosyncrasies delights the young audience. They are often tickled by the expressive gestures and physical comedy of the strong cast, from the wide-eyed fearful contortions of The Protector, to the playfulness of the Emperor.

However, the highlight of The Nightingale is a short but stunning shadow-play sequence. Characters flow in and out from behind a screen, depicting The Protector’s encounters outside the Forbidden City. The haunting shadows punctuate the otherwise boisterous play, and the audience is silent, spell-bound.

The most captivating moments, it seems, need not be the loudest.

In contrast, an attempt at a rock number grate and overwhelm, although one hip-hop number manages to incite lively dancing from the audience. Natalie Yeap’s Kitchenmaid also cuts through the richness with her refreshing and steady vocals.

Sitting amidst the young audience who is unabashedly engaged and excited, this reviewer witnessed the joys and difficulties of staging a children’s play. It is undeniable that story-telling liberates curiosity and imagination, no matter the age.

Whilst bigger is often better when it comes to children’s shows, perhaps more children’s players ought not underestimate the power of the stage and their target audience, lest they trade the real essence for the fancy flourishings of just another mechanical replica.

“Light, entertaining children’s fare brings clear message that ‘there’s no place like home.'”

Reviewer: Christian W. Huber
Performance: 1 March 2017

Despite a late start from a rain-delayed morning, as well as settling the groups of pre-school kids into their seats, A Peter Rabbit Tale provides enough entertainment to chase away the dreary start to their mid-week morning’s routine.

This reimagined treatment of the beloved children’s classic by Beatrix Potter focuses on the importance of family, and the wonderful freedom of being yourself. It engages during its 50-minute duration. Kudos goes to director Eva Sampson in this entertaining piece with a spritely cast, simple but effective design by Alison Neighbour, and catchy original songs directed and arranged by Joanne Ho and Joel Nah. With just the right dose of audience participation – used sparingly but effectively each time the cast give chase or run from the stage into the auditorium – the show leaves kids with smiles on their faces, and a hum in their hearts!

Engaging children’s short attention span – which is ever so short in today’s iPhone generation – can be a baptism of fire for fresh and young theatre performers. When the young audiences don’t feel invested in or involved with what they are watching, the cast may experience noisy restlessness and audible sighs of boredom.

Hence, performers need to prioritise. Filling up their resumes by treading the boards, and showcasing their triple threat skills (singing, acting, and dancing) to future producers, directors, casting agents, etc. with a lack of heart, will not a good children’s theatre production make.

A good script and an easy-to-relate message played with heart help create the magic that theatre can conjure up for the viewer, and to inspire the young to appreciate the arts at an early age.

Thankfully The Little Company has achieved the latter in this production. Since the young audience have engaged with the show from the get-go, it would not hurt for all cast members to commit more fully.

A Peter Rabbit Tale satisfies the children’s expectations with a young and energetic cast, ably acting, singing, and dancing their roles with ease. The standout performer for this reviewer has to be Siti Maznah. Playing five different characters, her Mrs. Tiggy-Winkle – the hedgehog with Tina Turner-inspired hair, a massive tutu and Doc Marten boots – showcases her heart as a performer and one that truly engages the audience – young and old.

The Little Company’s tagline, “Big Theatre for Little People” has enthralled children from ages two to 12 with English and Mandarin productions since 2001. With its downplaying of props, costumes, and bringing home the message of “home is where the heart is”, A Peter Rabbit Tale hops forward in the right direction, and makes for a great 2017 season opener.

“Bearable”

Reviewer: Gloria Ho
Performance: 14 March 2015

“Cannot anyhow take other people’s belongings understand? Must always ask permission first!”

Sometimes, it is difficult to verbally explain the need to adhere to morals. Most of the time, wise words go unheeded. This is where short, illustrative and memorable fairytales come into play. Through the original story of Goldilocks and the Three Bears, young readers are taught the important moral and social rule of respecting others’ possessions and space.

There is no doubt that all the young members of the audience are familiar with the story of Goldilocks as they recognize and eagerly point out to their parents the bowls of porridge set on the table and the bears’ chairs on stage.

The Little Company, a division of The Singapore Repertory Theatre, first staged Goldilocks and the Three Bears in English in 2013. Goldilocks is restaged in Mandarin this time around – without English surtitles. Parents who intend to bring their little ones, especially if they have yet to receive much exposure to Mandarin, must be prepared to translate and explain the storyline as it strays from the original version.

I am most disappointed that the redeveloped storyline had not brought out the moral(s) to be learnt, despite including it in the programme booklet’s synopsis. Goldilocks (Vanessa Phang) screams incessantly upon being discovered by the bears (playing up to the children), this refashioned character shows no remorse over the trouble she has caused.

The young audience members enthusiastically repeat after words whenever prompted: collectively giving a resounding response of “不可以 (No)!” when Goldilocks asks them if she should enter the bears’ house. This constant call-and response, while interactive and lively, makes it difficult to make out what Goldilocks is saying.

The set is colorful, detailed and the transitions are smooth. The lighting designer, Gabriel Chan, has also done a good job supporting the set. The costumes are questionable. The jumpsuit with fur , the orange socks and sneakers work but the actors not wearing orange gloves or shirt seem a little inconsistent.

If you are looking for a fun time out with your child and bobbing along catchy songs and dance, Goldilocks will do the trick. Apart from that, you’re better off with an educational programme on television.

“Goldilocks and the Three Bears (in Mandarin)”

Reviewer: Jemima Yong
Performance: 15 March 2015

Impatience and anticipation in the foyer mounts as the minute hand strikes five past two. The doors open late; there is a palpable rush into the theatre – what satisfying enthusiasm!

The design of the production is impressive and well-conceived – a towering wood magically transforms into the interior of the bears’ house with light and sound dancing harmoniously through the musical. Francis O’Conner’s set is ingenious, ergonomic, mechanically swift. Gabriel Chan’s lighting was inspired and Jeffrey Yue’s sound work, intuitive. The costumes, especially those of the bears, had a life of their own.

The story can be distinctly split into three parts: World 1: The Bear Family, World 2: The Human Family and World 3: The collision of both. Poignant parallels of cautionary tales against “the unknown other” (for the bears, the humans and for the humans, the bears) are drawn through distinct musical and choreographic motifs.

The moral of the story? Talk to each other to figure things out. Don’t be frightened of the unknown. A suitably contemporary one to take from such an old tale.

The three bears played by Oliver Pang (Father Bear), Celine Rosa Tan (Mother Bear) and Sugie Phua (Baby Bear) bore delightful chemistry. Rosa Tan in particular was very strong. Goldilocks, played by Vanessa Phang, struggled a little with her songs, but had a youthful, impassioned stage presence, which suited her character.

There is much innovation and playfulness in the fabric of this work, reflected directly in the animated responses of its audience of children and families – “not too hot, not too cold”, a superb balance between education and fun.