In Rehearsal on the Stage of Milton Court Theatre at Barbican



Hansel & Gretel in a workshop rehearsal at Milton Court Theatre last week. Puppeteers Diana Ford (left) and Lizzie Wort (right) play the roles, and interestingly swop puppets during the process, so each plays both characters.


Poet and author of the Hansel & Gretel text, Simon Armitage, drops in on rehearsals at the Milton Court Theatre, Barbican and meets Gretel, here being introduced by her director!


Photos courtesy of Phil Cooper

Hansel & Gretel is Coming!

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The Premiere at the Cheltenham Festival is on July 7th.

Box Office open from April 4th.

Words: Simon Armitage
Music: Matthew Kaner
Visual Direction: Clive Hicks-Jenkins
Dramaturgy: Caroline Clegg
Producer: Kate Romano for Goldfield Productions


Puppets: Jan Zalud

Model Sets: Philip Cooper

Shadow Puppets: Peter Lloyd

Puppet Wardrobe Supervisor: Oonagh Creighton-Griffiths



Hansel & Gretel On Stage

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I’m pleased to at long last announce my collaboration with producer Kate Romano of Goldfield Productions on a new adaptation for the stage of Hansel & Gretel, with a spectacularly innovative poetic text by Simon Armitage, and music by composer Matthew Kaner.

Several years ago Kate visited me in at my studio when I was working on, among other things, a picture book of Hansel & Gretel. She’d come to me about another project, but in the end it was the picture book that stuck in her mind, and shortly thereafter she returned with the notion of making a stage production based on the story of the children lost in the wood.

As producer Kate brought composer Matthew Kaner to the project. I realised I’d recently been listening to Matt’s music when he was BBC Radio 3’s Embedded Composer during their 70th anniversary season. Matt, Kate and I met up in London to discuss the project the very day that the Hansel & Gretel picture book was being launched by Random Spectacular. We began to talk about a librettist. Simon Armitage’s name quickly came up, as he and I were already in conversation about illustrations for the revision and republishing of his translation of Sir Gawain and the Green Knight. (Forthcoming from Faber & Faber later this year.) In due course, he was approached by Kate, and after a meeting with the team to discuss ideas, he joined us.

I’m visual supervisor and director to the production, and I’ll be working closely with Caroline Clegg, who’s been charged with the dramaturgy. (Dramaturgy is an alchemical art, hard to pin down with clarity, but basically making sure the many threads of the production pull together as planned to create a coherent whole.)


The visual aesthetic of the project has radically changed from when I made the Hansel & Gretel picture book for Random Spectacular and the Hansel & Gretel Toy Theatre kit commissioned by Benjamin Pollock’s Toyshop, with Simon’s extraordinary re-imagining of the story taking us in entirely new directions. I’ve come to view this latest incarnation as the final piece of a trilogy, in which the same story is interpreted in three entirely different ways.
Above, the picture book of Hansel & Gretel (in a special binding made for me by bookbinder, Christopher Shaw), and below, the Benjamin Pollock’s Hansel & Gretel Toy Theatre that I designed for Benjamin Pollock’s Toyshop.
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I’m working closely with artist Philip Cooper, who’s producing the sinister building-block sets that will be projected onto a screen during performances. (Philip was previously my collaborator on the animated trailer we made for the Hansel & Gretel picture book.) With our shared love of Neo-Romanticism and German Expressionism – he moves easily between working in the UK and his home in Berlin – Phil and I share a visual aesthetic that means we collaborate very comfortably together.


Artist, Peter Lloyd, is creating the most extraordinary shadow-puppets. He and I have an interesting way of working. I produce rough sketches and an open brief of how I want a character shaped and characterised, and then Peter runs with the idea, elaborating and adding layers of further detailing. If I’m the director setting out how I see the role, Peter is the casting-agent bringing me the perfect actor! Except he’s a casting agent who ‘makes’ the actors, the Baron von Frankenstein in our company of creators! The final stage will be when I stop-motion animate Peter’s shadow creatures into life.

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I’ll be working with my long-time film-maker and collaborator Pete Telfer of Culture Colony on the animation sequences. Pete and I have been working together for over a decade. He’s filmed and assisted me in the editing of countless projects, including The Soldier’s Tale for the forthcoming Música en Segura festival in Andalusia, and the animated book-trailer for the Random Spectacular Hansel & Gretel picture book.



The onstage puppets for the production are being made by the wonderful Jan Zalud, who I’ve been aching to work with for many years.

Below: Designs I’ve made to guide Jan in the making of our Hansel and Gretel tabletop-puppets.


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For this project we’ve assembled a wonderful team. The production premieres at the Cheltenham Festival in July.

Touring dates (further information & ticket details to follow) 

  • Cheltenham Festival WORLD PREMIERE  – 7th July 2018 
  • Lichfield Festival ‘book at bedtime’ Lichfield Guildhall  – 13th July 2018
  • Lichfield Festival matinee Lichfield Guildhall  – 14th July 2018
  • Three Choirs Festival  – 29th July 2018
  • Oxford Contemporary Music  – 14th September 2018
  • Barbican Milton Court Concert Hall Schools Matinee – 12th October 2018
  • Barbican Milton Court Concrt Hall – LONDON PREMIERE – 12th October 2018
  • Canterbury Festival  Colyer -Fergusson Concert Hall  – 21st October 2018
  • Bath Spa University  – Michael Tippett Centre – 24th October 2018
  • Broadway Theatre (Letchworth)  – 4th November 2018
  • Cambridge Music Festival – 23rd November 2018




Pretty as a Picture


Over at my Facebook page I decided to put up a lot of Hansel & Gretel images and links. It was a bit of fun to research and post in the evenings after long days working hard on the images for my Hansel & Gretel picture-book. In fact the exercise turned out to be a bit of a revelation, and I now have a much clearer idea of how deeply the iconography of the fairy-tale is embedded in our collective psyche.





Hansel and Gretel, the witch and her gingerbread house are everywhere. There are illustrations, good and bad, and all shades in-between. Most of the imagery is cloyingly awful, though there have been some lovely discoveries among the dross, particularly among the vintage images. I love this one.


And I am adding a recommendation from the always erudite and knowledgeable John Coulthart, who has pointed me toward Albert Weisgerber’s atmospheric 1900 edition of Grimm’s Fairy Tales.


To my knowledge Maurice Sendak left only one Hansel & Gretel image, made for his ravishingly beautiful The Juniper Tree. I can tell you, 20th century illustrations for fairy tales don’t come better than this.

I’ve found two versions of the tale illustrated by Arthur Rackham, and there may be more.



Much attention focusses on the picturesqueness of the gingerbread house, while as might be expected the more unsavoury aspects of cooking and eating small children, and the witch’s death at Gretel’s hands, are sidestepped.


It strikes me that where the iconography becomes an end in itself – and particularly when it’s divorced from its narrative context or used to sell products – the underlying darkness is extinguished, and we’re left with a gazillion images of candy-embellished cottages, lived in by a diversity of old ladies who welcome untold numbers of generic moppets, every one of them plump and rosy-cheeked.


Very few represent the witch’s home for what it is in the fairy tale –  a sugar-encrusted charnel-house. We’ve taken what is truly scary, de-fanged it and rendered it harmless and jaunty.


I’ve discovered images of considerable artistry…


… some that are frankly bizarre…

… and a few that have made me want to poke out my own eyes!

Every now and again an artist, illustrator, photographer or film-maker picks up the tale and deconstructs/reinvents it, which is what Susanne Jannsen has done so imaginatively


My own version is pretty dark, and contains a few surprises! I’m making it for myself, not worrying about the age of those who look at it. Some friends who’ve had a preview have said their children will love the picture-book, while others have blanched at the very idea of exposing their offspring to it. That combination of responses sounds about right to me.

A Dream Come True

Above: Set of Green’s wings from my collection of toy theatre ephemera

When I was a child, I was given a stack of yellowing toy theatre sheets by a friend of my parents, the actor and playwright Bill Meilen. They were mostly scenery, consisting of backdrops, wings and ground-rows. I had no toy theatre stage, and so I made one. (Probably out of a used cereal pack!) Bill encouraged me to cut the sheets, to colour them and use them, and to my everlasting regret as an adult, I did. I wish I wish I wish that I had not, and had stored them away somewhere safe. Instead, I cut and played with them, and there must have been some pretty potent magic in the fragile sheets, because here I am, over fifty years later, still in thrall to the wonders of the toy theatre.

Toy theatre in my studio, made from wooden building-blocks

The gift of Juvenile Drama scenery sheets from Bill, cut and pasted and gracing a toy stage of my own making, vanished, together with the other toys of my childhood, when my parents moved house. They left the rented Edwardian terraced property I’d grown up in, and moved to a small, modern flat. I was away at school in London at the time, and my bedroom in the old house, airy and packed with so many things I treasured, was ‘downsized’ to fit into the box-room that would thereafter be my bedroom in the family home. The theatre and its scenery vanished, alongside much else that I would have wished to keep. They were good parents in so many ways, but they weren’t sentimental about such things.

Yesterday, I made an agreement with Pollock’s Toy Theatre shop in London, to design the next title in their series of model theatres by contemporary artists. I’ll produce Hansel & Gretel to join the two ahead of me, The Snow Queen and the recent Beauty and the Beast. In 2016, not only will I be producing my first picture-book, thanks to Simon Lewin and his Random Spectacular imprint, but I’ll also be producing a model theatre for the shop bearing the name of the man who has been a beacon of creativity for me throughout my life, Benjamin Pollock. More here about this exiting project before too long.

The Bad Mother and the Weak Father

Maquettes  for my project with Simon Lewin of St. Jude’s Prints. Simon has been producing occasional publications under the ‘Random Spectacular’ title for quite a while. However, this year he’s going all out to expand the imprint with a series of exciting projects, one of which is to produce a picture-book that I’ve wanted to make for a long time. ‘Hansel & Gretel’ is going to be quite dark in tone. Definitely not one for the children. As is usually my way with projects, I’ve built maquettes of  the characters to help me create the images. Here are the Bad Mother and the Weak Father. She is as sour as vinegar, and he is careworn to the point of being rendered mute by her vitriol. One day she’s going to push him too far!

The tree is by Johann Rohl, currently working with me in the studio on a collaborative project.

Below: earlier maquettes of The Bad Mother

Things can end badly for bad mothers!

Out of the Woods: part 2

When making a book, once the initial excitement of producing exploratory images and compiling material is over, the hard job is to decide on which of the many ideas are going to be used, before assembling the dummy-copy.

That, for me, is the most difficult part, to put aside many of the ideas made along the way, because the book cannot hold all of them. On Hansel & Gretel I set aside the 1950’s vibe that had the children in school uniforms, and the ‘bad mother’ groomed as though for a day of shopping at Harvey Nicks and her husband for a day at the races. Clearly their priorities when cash became a tad short, did not include being impeded by children!

While it would have been a pleasant enough tipping-of-my hat to the post-war world of my childhood, and undoubted fun to draw formica-topped kitchen tables and Melamine breakfast services, ultimately it would have been too much of a knowing nod to the past. And so that has gone, and the images… and the cast of players… have become stranger and darker.

Out went Celia Johnson in the role of the Bad Mother…

…. and in came this hard-eyed substitute.

The Weak Father, with his tache and cap…

… transformed into this enigmatic cypher, his face constructed of empty shells.

Out went the school uniforms…

and in came the bonnet and cap of  ‘Once upon a time…’

And marching in, too, came the first of the maquettes. The Celia Johnson lookalike has shed her plump 1950s cocoon of sleek fox-pelt, pearls and perfect Avon maquillage, and out of it has emerged not a butterfly, but a predatory horror, stick-thin as a mantis and purged of all kindness.

The Bad Mother has arrived!

Watch the Artlog for developments.