Hansel & Gretel at Barbican

 

After a beautifully projected and nuanced performance of Hansel & Gretel at the Jack Lyons Concert Hall in York last week, the company move on to the exciting event of the London Premiere at Barbican tomorrow evening. (October12th)

The Milton Court Concert Hall, Barbican, is the largest of the tour venues, and it’s there that the performance is to be recorded by BBC Radio 3 for later broadcast. This new version of Hansel & Gretel, with a libretto by Simon Armitage and composed by Matthew Kaner, has been two years in the planning and making, and tomorrow many of the creatives who brought it to life will be present in the audience to celebrate the achievement. Congratulations to all, but particularly to Producer Kate Romano, who under the umbrella of her Goldfield Productions made it all happen.

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Above: Lizzie Wort and Di Ford, our incomparable puppeteers on the production. The puppet maker was Jan Zalud with puppet wardrobe created by Oonagh Creighton Griffiths.

 

The Serpent’s Bite: a natural history of the witch. Part 2

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The picturebook of Hansel & Gretel was only partway finished when Louise Heard of Benjamin Pollock’s Toyshop and I began to have discussions about the adaptation of it into a toy theatre kit. However, when Louise saw the full extent of the graphic horrors on display in my illustrations for the fairytale, she thought them too dark for the Pollock’s style, and so I went off to try and figure how to adapt the imagery for her. There were no doubts that my original witch with her wormy nasal cavity, would have to to be toned down!

As a preparation to the job ahead, I invented a ‘back-story’ for the toy theatre design. In the picturebook the children, having survived their run-in with the carnivorous and predatory witch, return home to discover that in their absence their father has murdered their mother with an axe! (The book ends with the grisly truth revealed in an image of the ghost of the mother turning up with the father’s axe still embedded in her spine!)

The prequel to the toy theatre design is that the children have run off to the big city to fall in with a disreputable troupe of actors. Persuaded by an unscrupulous producer to sign over to him the stage, film and publishing rights to their story, Hansel and Gretel end up in ‘Victorian’ costumes playing themselves in a pantomime version of their adventures sweetened and given a good dusting of showbiz glitter! Their feckless father and cruel mother are reshaped by the script as being poor though caring, while the role of the witch is given to a ‘character’ actor better known for playing demon kings and therefore well experienced in eliciting boos and hisses from the crowd!

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The re-shaping of the picturebook witch for the the cut-out-and-assemble toy theatre, was really just a matter of simplification, dressing her in red for maximum impact and giving her a striped cat. However the pointed artificial nose of her picturebook predecessor remained, though as a part of the actor’s ‘make-up’ rather than the prosthetic that disguised something unspeakable beneath! The Pollock’s witch neither flies nor grows fangs, but she rants and raves and stomps about to great effect, and just as in the original Grimm Brothers’ version of the story, imprisons the children and prepares to cook them, though of course it’s her who ends up in the oven!

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The Benjamin Pollock’s Hansel & Gretel Toy Theatre Kit, may be purchased

HERE

There is also a delightful Benjamin Pollock’s Toyshop pop-up Hansel & Gretel card available, based on the toy theatre design and available

HERE

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By kind permission of  Benjamin Pollock’s Toyshop, The Hansel & Gretel Toy Theatre makes a brief guest appearance in the current music/theatre touring production of Hansel & Gretel, with words by Simon Armitage and music by Matthew Kaner played by the Goldfield Ensemble. I supervised the designs, working closely with Phil Cooper (models and scenic painting), Peter Lloyd (shadow puppets) and Jan Zalud (puppet maker), and I directed the production.

Animating the Unspeakable

The Witch that appeared in the Random Spectacular published picture book of Hansel & Gretel (see above), had already been through a complex line of development from first ideas to finished illustrations by the time I came to re-think her for the stage production.

On the stage the children were to be presented as tabletop puppets made by the wonderful artist/puppet-maker Jan Zalud, based on designs that I’d produced as a guide and that the two of us continued to discuss in great detail throughout his process of making. The puppets’ wardrobes were supervised by Oonagh Creighton-Griffiths.

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But the Witch was always going to be conjured as a shadow screen presence, and in the end was produced as several articulated papercut puppets that were stop-motion operated on a light-box in the manner of the silhouette films made by the great pioneer animator, Lotte Reiniger.

My friend, artist Peter Lloyd, created the papercut puppets for the production. He started with basic designs I provided, and then freely elaborated on them. Peter added the extraordinary detail of the many eyes worked into the surface texture of the Witch’s arms and hands, borrowing the idea from the garment stitched with eyes that the character had worn in my original picturebook. I knew from the moment I saw the papercuts that he’d gifted me with an amazing reimagining of the Witch from the book. A villain needs to be visually fascinating, whether an evil genius or a predatory alien, and the Witch in Hansel & Gretel is no exception. Peter Lloyd’s witchy hands – which as I recall were the first papercuts he made of the character – have a filigree orientalist quality that any animator would be happy to work with. Every finger-joint was articulated, so that when I came to animate the hands (assisted by another artist/collaborator on the project, Phil Cooper), I had the best possible range of movement.

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The Witch papercuts were filmed by Pete Telfer of Culture Colony as black silhouettes on a white screen, but were reversed to negative in the editing process, to create a more ghostly effect.

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It’s a fact that I simply couldn’t have produced silhouette puppets as elaborate as Peter’s, as his paper-cutting skills are magnificent and far exceed my own. He created three versions of the Witch: large papercuts of her head and hands for close-up shots, and full-length cloaked and uncloaked representations of her, the latter revealing her full, hybrid crab/scorpion appearance. (Her lashing, scorpion tail was restless in the animations, a barometer – rather like a cat’s tail – of her temper.)

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Above and below: two of Peter Lloyd’s silhouettes for the Witch on his cutting board.

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There were some minor adjustments to the puppets made during the filming. On the last day of shooting I cannibalised parts from two of them to make a fourth version, in order to present the character in her death throes. In addition, Phil Cooper and I added some eyelids to the large head of the Witch, to enliven her expressions in close up. (In animation, the mechanisms of blinking play a huge part in bringing a character to life.) I adjusted the principal pivot points of the full length puppets, adding transparent, swivelling animation-levers to enlarge their repertoires of movement. That included repositioning the hips and rearranging the legs so as to make the knees reverse-jointed, resulting in a more bird-like gait. (See below.)

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The loosely-jointed fingers on the full-length puppets proved unwieldy on the animation screen as they kept shifting when I didn’t want them to, no matter how careful I was. So instead I made a virtue of the problem, being sure to keep them moving at all times. Later, in the editing suite with Jon Street at The Moth Factory in Bristol, when we heard Matt Kaner’s music for the scene for the first time, it turned out he’d made unnerving use of plucked strings, and the effect perfectly matched the Witch’s twitching, restless hands, as though her energy couldn’t be stilled. Creepy!

Close collaboration between the participating artists was crucial on the project. From the outset I’d wanted to enrich the visual aesthetic of what I’d already created by way of the Hansel & Gretel picturebook for Random Spectacular and the toy theatre for Benjamin Pollock’s Toyshop, extending my earlier ideas by inviting those whose work I greatly admire to contribute to the stage production. Phil Cooper and I had already collaborated together on the video-trailer for the Random Spectacular picturebook, for which he’d made the set models. Peter Lloyd and Jan Zalud were both familiar with my work and well-prepared for the stage production, even though it departed from much of the material I’d made for the book. I made basic design templates that we all used to stay within the parameters of how the production would look, and they ensured consistency across the board. Everything was discussed at length. It was teamwork from start to finish.

 

 

Supervising Designer and Animator – Clive Hicks-Jenkins

Shadow Puppets – Peter Lloyd

Models, Background Paintings and Assistant Animator – Philip Cooper

Tabletop Puppets – Jan Zaud

Puppet Wardrobe by Oonagh Creighton-Griffiths

 

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Above: photograph courtesy of Philip Cooper

 

Wood Into Flesh and Blood

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In my designs for the tabletop-puppets of Hansel and Gretel, made to guide master puppet-maker Jan Zalud in the complex task of building our wooden actors, I sketched unclothed versions so that the proportions of the characters could be seen.

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Items of clothing were of the stick-over variety used for old-fashioned paper dolls, offered more by way of a starting point for puppet wardrobe supervisor, Oonagh Creighton-Griffiths.

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Costuming puppets is a rather hard to define and alchemical skill. It’s the final, transformative stage that comes before entrusting the wooden actors to the puppeteers who will give them life. Flesh and blood performers can take ownership of what’s worn on stage to the point where the warmth and shape of bodies moulds garments so that they stop being ‘costumes’ and become clothes.

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But for the inert, wooden actor, the wardrobe supervisor has to take things several stages further in order for the illusion of the character’s history to be present. It requires a forensic approach to detail, because all the clues of subtle ownership and everyday wear and tear have to be crafted into garments worn by actors unable to add any history of their own. Care must be taken so that miniaturisation doesn’t become a distraction. Meticulously crafting a miniature zip, while impressive at a technical level, has the potential to be a distraction from the puppet’s performance. So there needs to be a careful shorthand, paring away extraneous detail while leaving just enough to be convincing. It’s an illusory craft, because it mustn’t draw attention to itself, which is harder than it sounds.

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Oonagh and I will meet our puppet actors for the first time in London later this month. We’re greatly anticipating the moment. I’ve wanted to collaborate with Jan Zalud for the longest time, but the stars didn’t align for us to do so until this project. Oonagh and I will be able to closely examine Hansel and Gretel and take measurements of them. Her task of compiling photographic references began several weeks ago, but once she can see exactly what she’ll be costuming, the work of bringing wood to life can begin.

 

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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

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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.)

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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.
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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.

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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

 

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Puppet Catch-up: Clive’s Posts

19th century Italian glove-puppet show

Over the past months there’s been much written about puppets at the Artlog by way of offering encouragement to those taking part in guest curator Peter Slight’s Puppet Challenge. In fact between us Peter and I have written so much, that I’ve decided to offer links for easy access to posts that may have been missed first time around, plus links to some puppet-themed items from my archive, written before the challenge. To save crowding, I’ve made two posts. Today we kick off with my collected puppet posts, and Peter’s will follow on Friday.

Clive’s Posts

Guide to Types of Puppetry (ongoing)

Glove-Puppets

Shadow-Puppets

Marionettes; Part 1

Marionettes: Part 2

Bunraku

The European Tradition

The Puppets of Palermo

The Royal Toone Theatre, Brussels: Part 1

The Royal Toone Theatre, Brussels: Part 2

The Royal Toone Theatre, Brussels: Part 3

The Guignol Puppet Theatre of Alexei Romanov

20th century artists and puppetry

Dada and Constructivist Marionettes of the 20th C.

Luigi Veronesi’s puppets for The Soldier’s Tale

The Marionettes of Aleksandra Ekster

Paul Klee

Contemporary puppet-makers.

Czech puppet-maker, puppet maker Bára Hubená

Interview with Czech puppet maker Jan Zalud

Interview with Julian Crouch

Jan Svankmejer

20th Century puppet-makers.

Richard Teschner

DoLores Hadley

William Simmonds

Walter Wilkinson

Puppet Performances

69 Degrees South, Phantom Limb

Spartacus, Théâtre La Licorne

The Devil and Mr Punch

How the Hoggler got its Name

Clive Hicks-Jenkins

Cyclops Glove-Puppet

Modes of Locomotion: one puppet, two techniques

Born

The Puppets of The Mare’s Tale

Audrey II