“Hansel and Gretel“

Reviewer: Selina Chong
Performance: 1 July 2017

The one word I would use to describe Players Theatre’s Hansel and Gretel is “lively”. There is plenty of movement and action onstage, the set is visually arresting, and the puppetry work is engaging. I suppose that is to be expected for a production aimed at children and families.

In this retelling of the fairy tale, a crow is the narrator, a pair of wicked rabbits are the villains who lure the children to the gingerbread house, and an adorable gingerbread man is the main hero of the story. Much of the storytelling is done through puppetry, and the actors’ mastery of puppet work is commendable.

The set also complements the storytelling. In particular, the first view of the gingerbread house is magical: the oversized pieces of candy adorning the house look delectable, and effectively contrasts the danger and evil that’s found inside.

However, the show – which was staged as a part of the Opening Festival for Gateway Theatre – did experience several sound-related issues. The sound crew was a bit slow and the actors spoke without mic support on several occasions, and the witch’s voice sounded muffled for the second half of the show. I also feel that Caitanya Tan’s portrayal of the evil stepmother could have been better enunciated. My experience of her performance is a blur of slurred words broken by moans and melodrama.

What resonates with me is the production’s message that nothing is as it seems. The production turns conventions on their heads and depicts the villains as lovable bunnies. On the other hand, the crow – an omen of death – serves as the unlikely hero of the tale. Through the play, children are taught not to judge books by their covers or assume that cute bunnies will never lead them to death’s door.

The Q&A session after the performance also reinforced the theme and extended the discussion to theatre as a craft. In response to an inquisitive young member of the audience, the team recreated a scene involving a blazing oven and showed how each stage component – sound, light, props, actor – interacts with another to create a powerful, but ultimately imagined, event. It was a lovely reminder for me that the act of storytelling in theatre is really only completed in the mind of the viewer.

The performance brings to life a well-known fairy tale and could well be the first experience of theatre for many children in the audience. I believe Hansel and Gretel would successfully pique their interest and entice them to return to the theatre for more.

“A burst of color and suspense for children and parents alike”

Reviewer: Casidhe Ng
Performance: 14 May 2017

Players Theatre has been a key proponent of children’s theatre for quite a number of years. The company has a remarkable history beginning from the early 2000s, almost producing a show a year ranging from a selection of Roald Dahl’s works to classics such as Charlotte’s Web. It’s no surprise then, that their most recent offering is an adaptation Neil Gaiman’s Coraline.

Gaiman’s novella follows Coraline Jones, a young but adventurous child who moves into a new neighborhood with her parents, meeting strange neighbours such as retired actresses Miss Spink and Miss Forcible, as well as Mr. Bobo, who owns a rat circus. Unhappy with her parents’ neglect of her and desiring greater adventures, Coraline becomes interested in a locked door that turns out to be a portal to another world with her Other Mother, the evil Beldam, and her Other Father.

The first half of the show begins well enough: Miss Spink and Miss Forcible are portrayed skillfully with resounding falsettos, while Mr. Bobo, Coraline’s Mother and Father play serviceable roles in the progression of the story. Numerous musical numbers appear throughout the show as well, though they add little to the audience’s comprehension. Ultimately, as is evident as the second half unfolds, the strength of this production is its costume and sound.

In arguably the most enchanting scene of the play, Coraline’s mother reveals that a wall of bricks lie behind the locked door and leaves Coraline to her own devices. Upon her departure, the lights dim and the door opens, a heavy smog emerging from the hole, its interior and the fog awash in green light.

The children gasp.

In another scene, Coraline faces a warped version of her Other Father, punished by the Beldam: he is an ugly and formless mass, with uneven eyes and strange features and a disembodied voice, calling for help. These, amongst many other arresting stage pictures, find their home in the offbeat and fantastical world realised by Players Theatre, as do other effective directorial choices that immerse the children in the surreal.

These compositions are notable examples of the delicate balance that is Coraline, a mix of Gaiman’s lighthearted and darker themes. This production creates shocking stage pictures without being overtly terrifying. The cartoonish and overblown designs of the costumes work particularly well, and the most impactful scenes tend to be the simplest: such as that of the spirits of three little children set against a black backdrop.

Gaiman’s popular and endearing story demonstrates his masterful ability to explore complex themes with a simple but arresting narrative. Players Theatre translates this to the stage with seeming ease, hitting some right notes with key characters, symbols, sound and costumes that make up for other shortcomings. Most importantly, Coraline’s messages stay intact: to the parents – pay attention to the perceptibility of their children. To the children –  look closely at things, since they are not always what they seem. With this, I sincerely hope Players Theatre continues to stage productions like this providing opportunities for children to experience the magic of theatre.