By Karyn Lee Greig
Jacob (1785-1863) and Wilhelm (1786-1859) Grimm, were German academics, linguists and cultural researchers. Interest in traditional folk stories grew with the rise of Romanticism in the 19th century. To the Grimm brothers these stories represented a pure form of national culture necessary for national unity and independence in Germany. The brothers collected and recorded these folk stories which became the basis for studies in German folklore. Between 1812 and 1857 their collection went through many changes and grew in popularity from 86 stories to more than 200. They’ve since been translated widely, adapted in literature and film, and examined in politics, education and psychology.
The 20th century debated the teaching of these often brutal and violent stories. In 1976 however, interest grew in them as children’s stories for their ‘therapeutic’ value. Hansel and Gretel and Little Red Riding Hood became popular for this reason. Other stories were considered too gruesome. In the US, the release of Walt Disney’s Snow White and the Seven Dwarfs in 1937 during WWII, shows good triumphing over evil, and innocence over oppression. Similarly Sleeping Beauty, produced during the Cold War, subtly framed anti-communist sentiment and traditional family values within it.
There are many great things about this production of Grimm – Tales from the Brothers Grimm by Shake and Stir Theatre Company. The production values are first class. Set designer, Josh McIntosh presents an ‘abandoned drinking house in the deep dark forest’ where many props from Grimm’s tales litter the set in their dustiness and angularity. We enter a place at odds with the natural world, with a foreboding river of red apples between us and the stage.
The action interweaves the tales skilfully using song, movement, dance, puppetry and satire, ’brutalising and dismembering’ the tales as promised from the beginning. It is high energy and fast paced with some funny one-liners and audience participation. The most popular of Grimm’s tales are aired, except one of the most macabre tales – secretively mentioned by even these gauche characters – The Robber Bridegroom, a tale relatively unknown as it is so grisly.
The four actors are outstanding as they change character at lightning speed. Aljin Abella’s energy and stage presence are unforgettable. Helen Cassidy’s voices are particularly clever and funny. Nelle Lee’s talents shine as co-creator, script adaptor and cast member. Henry Rollo, a suave wolf, adds his fine music theatre skills, singing and accompanying himself on piano.
Paul McCann’s costume designs, complement this world perfectly taking us back to the tales’ historical roots as well bringing us into the present. The lighting and sound operators are kept very busy with the dynamic lighting design by Trent Suidgeest and equally out of this world sound design by Guy Webster. This reviewer found it too loud, however.
The entire show is brought together by Dan Venz’ skilful choreography, completed by Daniel Evans’ – also co-creator – masterful direction.
This all said, it was not my best night in the theatre though clearly many enjoyed it. Having experienced ‘fractured fairy tales’ in film, performance and in educational contexts, there are no surprises. It is all highly predictable, bordering on cheap thrills. After all, as mentioned, these fairy tales have been reinterpreted since the brothers Grimm collected them. The bawdiness and our present preoccupation with postmodern feminism, patriarchy, sexism, sexual and gender fluidity as well as beauty and ageing are seen just too often by this reviewer. What should I have expected? Possibly what I got, but I always hope for something fresh or something which will move my heart. That’s when theatre really speaks.
Image: Parenthesy
