This short film was made as the Introduction to the Design for Today book launch of Simon Armitage’s Hansel & Gretel: a Nightmare in Eight Scenes at the splendid Artworkers’ Guild in Bloomsbury on the evening of May 22nd, 2019. The film illustrates the journey of the project from stage production to published edition of the poem that was its libretto.
Live music for the launch event was provided by the splendid Alex Barrow on the accordion. There was a pop-up exhibition assembled by Joe and me of the mid-century Russian illustrated books, tinplate clockwork birds, model theatres and folk-art-inspired toys that had influenced the illustrations and design of the book. The highlight of the evening was Simon Armitage’s reading of his entire poem, proving yet again that he’s a mesmerising presence when presenting his work. It was a ticketed event that quickly sold out, and was a resounding success.
Above: the Russian clockwork ‘singing’ bird from the stage production, meets her illustrated counterpart in the finished book.
Below: the transition from stage to page.
Hansel & Gretel: a Nightmare in Eight Scenes by Simon Armitage is published by Design for Today, and copies may be purchased
My regular collaborator, Pete Telfer, worked with me on all the film and animation footage seen in last year’s stage production of Hansel & Gretel: a Nightmare in Eight Scenes. The clips in the short film to promote the book are courtesy of his Culture Colony archive, and he was cameraman on the new animation that makes up the last third of the film.
I couldn’t have made the stage production of Hansel & Gretel without Pete. He’s the facilitator who gives me the freedom to experiment with film and animation, while keeping a gentle eye on things to stop me from making a complete and utter hash of the job.
My thanks to Simon Armitage, who wrote the words that became the libretto to the stage production. Thereafter he suggested we make a dedicated illustrated edition of the poem, and then gave me the freedom to figure out the best way to do it.
Working closely with Simon, first at Faber and then at Design for Today, on two texts so close to my heart, has been the most wonderful experience. I wish I could find better words to express what it’s meant to me, but I hope he knows.
Joe Pearson at Design for Today unhesitatingly agreed to work with Simon and me. His deep knowledge of twentieth century book design and his enthusiasm and passion for the project, saw it through the many stages to the perfect conclusion. He was unstoppable, even in the face of the 2018 New Year’s Eve fire that consumed the Design for Today warehouse and destroyed his entire stock of books. The man is a giant!
My thanks to Laurence Beck, our brilliant designer. Between Joe and Laurence, nothing was overlooked. I have never seen any book go through so many stages to bring it to perfection. No tweak or adjustment I requested was too much trouble. They were inspiring. Meticulous. Tireless.
Print-maker and toy theatre seller, Benjamin Pollock has been an inspiration throughout my life, and my work over the past few years with Louise Heard at Benjamin Pollock’s Toyshop underlies much of what appeared in both the stage production and the book. My thanks to Louise and her team for their unflagging enthusiasm and support for what I make. Louise kindly gave permission for an image of the Hansel & Gretel Toy Theatre I’d designed for Benjamin Pollock’s Toyshop, to be used in the stage production, and further permission to adapt the Pollock’s H & G Toy Theatre for the ‘Intermission’ page in the book.
Before Hansel & Gretel Dan Bugg and I had a three year collaboration making the fourteen-print Penfold Press Sir Gawain and the Green Knight series that was used in the 2018 Faber & Faber illustrated edition of Simon Armitage’s translation of the poem. It was a given we wanted to work together again in some way on Hansel & Gretel, so Joe Pearson commissioned Dan to produce the two ‘Lebkuchen’ prints that accompany the ‘special edition’ of the book. Dan and I also produced the Penfold Press ‘Gingerbread House’ enamel-pin that celebrates the book’s publication.
Special thanks to my trusty band of collaborators on last year’s stage production. Puppet-maker Jan Zalud far exceeded my hopes for what Hansel and Gretel might be, and Oonagh Creighton-Griffiths gave the children the tenderest backstories encoded into her beautifully detailed costumes for them.
Peter Lloyd created magnificently detailed shadow-puppets that were a joy to animate.
Phil Cooper was associate designer and my second-in-command in terms of the way the production looked.
I completely trust his eyes and his artistry. He danced effortlessly between his many tasks, creating the ‘building-block’ models seen onstage, painting the filmed backdrops (see above), and designing and ‘baking’ the mad, wonky, witchy ‘Lebkuchen’ biscuits that we later animated in a ‘tribute’ to Hollywood choreographer, Busby Berkeley!
It was Phil’s bone-white ‘Witch House’, with its incinerator-like chimney, that visually defined the ‘toy building-blocks’ aesthetic I wanted for the stage production, and thereafter his Lebkuchen ‘Gingerbread’ version that I carried forward into my illustrations for the book.
Below: production designer Phil Cooper, puppet costume supervisor Oonagh Creighton-Griffiths, and lead puppeteer for the audition day, Diana Ford.
As if all that weren’t enough, Phil also assisted me with the animation sequences.
I am indebted to artist/embroideress Chloe Redfern, who later took Phil’s ‘Lebkuchen’ House, and re-booted it into something beautiful and transformative for the conclusion of the book.
Above, Chloe’s embroidered Lebkuchen Witch House, and below, my translation of it to an illustration.
I’m particularly indebted to Jonathan Street of the Moth Factory, Bristol, who kept me grounded and focussed during an insanely difficult three-day marathon of film editing. His thoughtful work on Pete Telfer’s gloriously atmospheric ‘Psycho Witch Doll’s House’ footage, was a triumph. Jon was vision-mixer for the tour, and was cameraman of the live footage streamed to a projection screen above the performers.
My warmest thanks to puppeteers Diana Ford and Lizzie Wort. They were not only massively contributive creative geniuses on the production, following me fearlessly into sometimes choppy waters, but they are also damned fine people to be around. The three of us work hard but laugh a lot! In the photographs below you see them at the Cheltenham Music Festival for the May 2018 premiere of Hansel & Gretel: a Nightmare in Eight Scenes, and then at the May 2019 London launch of the Design for Today illustrated edition of the book. They topped and tailed the stage-production-to-book journey, and I couldn’t have had better company on the adventure
Jan, Oonagh, Peter, Phil, Jonathan, Diana, Lizzie and later Chloe, whether they knew it or not, helped light the path for me from stage production to book. Their visual creativity was always present while I worked alone in my studio conjuring images out of Simon’s words. I’m the book’s named illustrator, but their influences are scattered like fireflies throughout its pages.
My love and gratitude in equal measure to my manager in all theatre matters, Susan James. We’ve known each other since we were teenagers, and I count myself fortunate to have had her wisdom and patience to guide and steady me. Hers are the eyes in the back of my head. She’s fearless, riding shotgun and being wing-man, seeing the bigger picture and the smallest details, talking me down whenever the frustrations of getting a production to the finishing-line catapult me into stratospheres of frustration. I doff my cap and bend my knee to her. She is ‘The Guv’nor’!
And finally, my love and thanks to Peter Wakelin, for his unstinting support throughout the long and occasionally rocky Hansel & Gretel journey, and to my friends James and Sarah Joseph. (They know why.)
The first two books arrived home today, while I was at work. Javier phoned to say I had a package from Britain, and I tried my best to return home early.
They are great. I would love to be able to buy the short introduction, and the film of the performance, in Blu Ray, to keep them together with each book..
I feel so guilty for having such pleasure in them and no proper way to contribute…
Love from Madrid
I’m late responding to your message. My apologies, Maria. It’s been a busy Summer here.
I’m so pleased that your copies of the book arrived safely, and that you’re happy with them. With regard to how you feel, no-one should feel guilt in the amount of pleasure a book gives. If this one makes you pleased to have it… and in any way commands your attention and thought… then it’s doing the job I intended. Moreover you DO contribute, with your thoughtfulness and kindness and presence in my life, for which I offer sincere appreciation and deep affection.
With love from the Ystwyth Valley
What a terrific post Clive, your words and the film beautifully capture the thrills of this incredible journey. It was so lovely seeing you and some of the H&G gang at the launch event last week, and the book is the most perfect conclusion to all the wonderful creativity that has blossomed around this story over recent years. I have a copy of the book on my coffee table here in Berlin and I can’t stop picking it up, it’s just superb. And hugest thanks to you and Simon for being the inspiring powerhouses you are and for your extraordinary vision and talent that has driven the magic Xx
Couldn’t have done it without you, my friend. You are a star!
Thank you for sharing (in these divided days) something of worth and beauty that came from a collaborative effort. It was lovely to see and hear. Plaudits to all.
Love as ever
What a great introduction; in fact a very worthwhile production in itself.
Magnificent, marvellous, and moving. Bravo Clive!
This short film is great.
I am going to buy several books, for me, and for my grandchildren the moment I fathom how to do the buying ( I have gone to the HERE, but have not yet mastered the procedure ). My boys shall help me in a little while , when they come for lunch.
¡ ENHORABUENA ! , and ¡ BRAVO ! To all concerned
Love from Madrid
Done. And I did it by myself. Am so proud.
Ha ha! Well done Maria. I’m proud of you.
I hope you enjoy the book when it arrives. Design for Today made a wonderful job of it.
Love to you and Javier. XXX
What an amazing experience it must have been, I wish I could have been there on the night. Thanks for this, at least we can get a hint of the marvellous experience you all created. Well done everyone, and congratulations to Simon Armitage as the new Poet Laureate. (Even though he doesn’t know me from Adam….or should I say Eve?) His excellent choice of you as artist enabled unique works of art to sprout from his words. XX L
Hi again Clive, I’ve just revisited this post, and found rather strangely a lot more to read and see than I first did, I don’t know what happened, but my comment above only applies to your first paragraph! However I only want to add again what a wonderful experience it must have been for everyone, all so talented and joyfully working towards that wonderful production. It’s lovely to read your thoughtful and generous words of gratitude to your fellow collaborators, you have the rare gift of recognising talent and of bringing out the best in people, and reading this post makes me feel good. Much love from L xxx
Hello Sweetheart. I had to post the piece before I’d finished, and then wasn’t able to get back to the job until a day later. But all done now, with my thanks in place.
Thank you for your generous comments. I try to bring out the best in people. Moreover there were wonderful collaborators on this project who helped me raise my game too, and that’s the way it should work. Of course no matter how things look from outside, it’s not always plain sailing getting a production to the finishing line, and this was no exception. But we got there in the end.