Publication Day, May 24th!

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After a year in the making, the published edition of Hansel & Gretel: a Nightmare in Eight Scenes, is about to launch. It was a pleasure from beginning to end, made so by the commitment of the small team who worked tirelessly to realise it. We shared an ambition to make something lasting and fine, and I believe we did just that.

My heartfelt thanks to Simon Armitage, who entrusted the project to me, and to publisher Joe Pearson at Design for Today, who unhesitatingly took up the challenge and then didn’t stop until everything was perfect. Thanks and admiration for Laurence Beck at Design for Today, who so beautifully designed the book. Huge thanks too to my regular collaborator Pete Telfer, who has been present at all stages of the Hansel & Gretel adventure, and was my cameraman and editor on the animations and film sequences of the stage production, as well as the book-trailer shown here.

And finally my warmest appreciation to the team on the stage production, whose unfailing creativity and cheer buoyed me up when the waters got very choppy: Di Ford and Lizzie Wort, Jan Zalud, Oonagh Creighton-Griffiths, Jonathan Street, Peter Lloyd and Phil Cooper. Every one of you, a hero in my book!

 

Clive Hicks-Jenkins, May 2019

Hansel & Gretel: the film of the production

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For all those who missed the tour of Hansel & Gretel: a nightmare in eight scenes

CLICK HERE

to see the production, recorded at the London premiere in the Milton Court Concert Hall, Barbican, last October.

The film is by the extraordinary Pete Telfer at Culture Colony. Pete had been cameraman and editor on an animated book-trailer we’d made as a promotion for the original Hansel & Gretel picture-book published by Random Spectacular, and then in 2018 joined the Goldfield Production team to work with me on the filmed and animated footage to be projected onstage during the performances.

Pete followed all stages of the pre-production, chronicling the creative processes and interviewing the team in the lead up to the premiere at last year’s Cheltenham Festival of Music. This documentation was made as a part of his ongoing and ground-breaking initiative at Culture Colony to record significant cultural events with Welsh artists at the heart of them. Without his generosity and tireless effort, there would have been no comprehensive record of the making of ‘Hansel & Gretel’, and all of us associated with it, production company, production staff and performers, owe him a huge debt of gratitude for his outstanding work. Later, Goldfield found a modest budget to underpin Pete’s filming of the Barbican performances, and the film has been edited together from that material.

In 2011 it was Pete Telfer, together with my then partner – and now husband, Peter Wakelin – who encouraged me to diversify my practice as an artist by making some animation tests with my studio maquettes, and my rather clumsy efforts were edited by Pete into a haunting little film with a spoken text by the American poet Marly Youmans. In 2013 he was animation cameraman on ‘The Mare’s Tale’, composed by Mark Bowden to a text by Damian Walford Davies, and premiered in a single, fully-staged production performed by Mid Wales Music Theatre.

When Kate Romano asked me to work with her to create a new Hansel & Gretel for her company Goldfield Productions, Pete Telfer came to the project with me, together with artists Peter Lloyd (papercut puppets), Jan Zalud (puppet-maker), Philip Cooper (scenic design, models and animation assistant), Jonathan Street (animation editor and onstage cameraman), Di Ford (puppeteer) and Oon Cg, (puppet wardrobe). I approached Simon Armitage, who I’d been in conversations with since he’d invited me to contribute illustrations to the Faber & Faber revision of his translation of Sir Gawain & the Green Knight, and he came to meet Kate Romano and me to discuss whether he’d be interested in producing a libretto for music yet to be written by composer Matthew Kaner. Simon agreed, and we were up and away.

There were others who joined the team as the work progressed, but these were the collaborators who were in place from the beginning.

 

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‘Not a sugary dream, but a nightmare in eight scenes: make no bones about poet Simon Armitage’s contemporary retelling of the tale most familiar in the Brothers Grimm version. Hansel and Gretel’s plight becomes that of child refugees, whose parents’ agonising decision is to abandon their offspring to give them their only chance of surviving war. Armitage took his cue from the darkly imaginative illustrations by artist Clive Hicks-Jenkins, who has now translated those original visions into a puppet show with new music by Matthew Kaner. In this premiere performance at the Chelteneham Festival staged by Goldfield Productions, what appeared at first to be a slight, small-scale affair in the end resonated altogether more deeply.

Kaner’s quintet of players – strings, wind and toy pianos – were arranged on either side of a screen whose animated shadow play featured first the parents and then the ravenous craw of the archaeopteryx-like witch. On the central trestle table were Hansel and Gretel, wooden puppets barely a foot high that were manipulated by Diana Ford and Lizzie Wort. It was the intimacy of tiny gestures offering expressive detail, in turn mirroring Kaner’s musical mood, that spoke volumes. Armitage’s words are the constantly shining white pebbles guiding the piece; his final verbal riff on light and dark will be even better savoured on the published page. Narrator Adey Grummet – twice bursting into sung lines – emphasised the mix of humour and satire with the moments of dystopian horror, making this an all too timely reminder of some children’s living, waking, starving nightmare. (Rian Evans, full review in The Guardian)

 

The Serpent’s Bite: a natural history of the witch. Part 3

After nearly two years of preparation, in 2018 rehearsals began for an adaptation of Hansel & Gretel into a new performable work, with a score by composer Matthew Kaner and a text by the poet Simon Armitage. What’s so extraordinarily clever about the text – which was written before the music – is that in it Simon presents the siblings as close-to-starving child-migrants escaping a war-torn country, their journey hazardous in ways echoing the Black Forest wildernesses of the Brother’s Grimm, and yet with contemporary references that bracingly season the old tale with with a dash of darkly glittering folk/horror. The music was written for the Goldfield Ensemble line-up of five musicians, and the work was commissioned and produced by Goldfield Productions, helmed by producer – and Goldfield clarinetist – Kate Romano, who’s definitely a woman-of-many-skills.

Below: Narrator Adey Grummet fronting the Goldfield Ensemble. (Photograph courtesy of Still Moving Media.)

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Peter Lloyd was among the small group of artists known to me who were invited to work on the design and visual effects for the production. He would make the paper-cut ‘shadow’ puppets of the witch. These proved too elaborate and large to be operated live on a shadow-screen, and a plan evolved to instead film them as stop-motion silhouettes on a light-screen/animation table. In performance the film is projected onto a large-scale screen behind the small puppets of the children. However before Peter could begin work on the witch, I had to provide him with guideline studies. My sketches were intentionally rough, meant as starting points for the character. Peter was briefed to ‘freely elaborate’ on what I’d produced.

The first drawing was much influenced by Goya’s naked witches. I guess I knew from the outset that the idea wouldn’t get to the finishing line, but I needed to try it out.

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Peter was very keen to be given a design that would enable him to be freely creative with his paper cutting. He was scornful of the second image I produced that made her a bag-lady like an overweight sparrow in layered cardigans. (And he was right!)

 

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So I returned to the illustrations I’d made for the picturebook. In those I’d used the notion of the witch being short-sighted, her apparel sewn with eyes as an expression of sympathetic magic. (Simon’s libretto makes great play of the witch’s near blindness.) But we also wanted to make a slow reveal of her true appearance, and so her garment became an all-enveloping cloak to obscure her hybrid anatomy.

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When I suggested to Peter that the design might include a crustacean’s carapace, like a spider-crab, he was off like a rocket! A tail was discussed, along the lines of a scorpion’s stinger. Thereafter he was keen to give her many arms, but I declined the idea because I knew the filming schedule was going to be very tight. Another four arms plus hands and all those extra fingers could have added days of work to the witch sequences. As it was, her mere ten spidery digits monopolised the lion’s share of her studio time.

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Peter Lloyd’s translation of the drawings into witch silhouette-puppet number 1.

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Witch silhouette-puppet number 2.

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When the puppet arrived for filming, I made only small changes to it, though significant ones in terms of movement.  I hid a sliding-bar attachment for the hips behind the puppet, so as to give her more flexibility, and changed her knees to backward facing (see below), so that her gait would be weirder. It made her much more interesting to animate.

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The superb quality and detail of Peter Lloyd’s paper-cutting really came into its own with the large head and hands he prepared for the close-up sequences. The hands were particularly good, with secret eyes embedded in the fingers and forearms. The jagged, slash-like cuts in her face loaned a wonderful texture to the puppet. Phil Cooper, model-maker and scenic painter on the project – and also my assistant animator – cut upper and lower eyelids to add to the puppet, so that we could make her blink. Blinking is a great way to add life to an animation.

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The stop-motion sequences of the witch were reversed to negative at the editing stage. We felt that she was much scarier when bone white against a dark background. Peter Lloyd provided her with an almost prehensile tongue.

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The pupils of her eyes were made in two sizes, pin-prick tiny and enlarged, again to add expressiveness.

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Click on the control bar below to see the Witch in action in this extended stop motion animation sequence. This was a first edit that I made with Peter Telfer, who filmed all of the animation sequences for Hansel & Gretel.

 

 

 

Below: on stage the witch’s nose sails into view, dwarfing the puppets of the children looking up in awe at it. (Photograph courtesy of Still Moving Media.)
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Here the witch unfolds from her carapace and stretches her arms, legs and tail like a vulture waking from an afternoon nap. It’s a shot we didn’t use in the production, though I liked it a lot. Matt Kaner produced one music sequence in which strings create an unnerving sense of edginess, and it perfectly matched the restlessness of the witch’s hands, which are never still.

 

 

Photograph taken by Phil Cooper of me working at the light-box/animation table. The tape marks edge of frame, so that Phil and I knew the points at which to enter and depart a shot.

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The hands were wonderful to animate, more like insects than I would have thought possible. Their articulation was enormously elaborate. An animator’s dream!

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The witch’s house in the production is fluid and shifting, as though the magic holding everything together is unreliable and certainly illusory.

Below: salt-dough Lebkuchen made by Phil Cooper.

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What starts as an iced Lebkuchen biscuit resolves more corporeally into a slightly grubby construct, perhaps made of  children’s building blocks, or maybe from congealed sugar. Ominously, the out-of-scale chimney looks as though it would be more at home on an incinerator.

Below: Model designed and made by Phil Cooper and built from a combination of contemporary and vintage building blocks.

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Later, when the children make a tour of its interior, we’re transported to the rooms of a sinister doll’s house, decaying and mouldy. Nothing in this world quite fits together. It’s dream-like and fractured. The words and music that accompany us on this estate-agent-from-hell’s tour of the grim spaces, is the bone-chilling heart of the production.

Below: doll’s house built by Simon Coupland and Jana Wagenknecht, with contributions from Stephanie Davies and painted by me. Lighting by Pete Telfer.

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(The full story behind the building of the ‘Witch Doll’s House’ is one that requires more space than I can spend on it in this post, but I will be returning to the subject later, to give the whole picture.)

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Hansel & Gretel is currently on tour. Details of performances are below. Contact the venues for ticket availability.

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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

 

4-Star Review for Hansel & Gretel in The Guardian

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Above: Hansel & Gretel, with Diana Ford and Lizzie Wort. Puppet design by Clive Hicks-Jenkins, Photographed for The Guardian by Spencer McPherson/Still Moving Media

Hansel & Gretel premiered at the Cheltenham Music Festival to a packed auditorium in the beautiful theatre of the Parabola Arts Centre on Saturday. Rian Evans gave the production a 4-star review in The Guardian.

Read it HERE.

Music by Matthew Kaner

Poetry by Simon Armitage

Direction and Design Supervision by Clive Hicks-Jenkins

Dramaturgy by Caroline Clegg

Produced by Kate Romano for Goldfield Productions

Narrator/Singer, Adey Grummet

Puppeteers, Di Ford and Lizzie Wort

Music performed by the Goldfield Ensemble

Puppets made by Jan Zalud

Puppet wardrobe supervision by Oonagh Creighton-Griffiths

Models and collages by Phil Cooper

Paper-cuts by Peter Lloyd

Animation by Clive Hicks-Jenkins assisted by Phil Cooper

Model and Animation Camera, Pete Telfer of Culture Colony

Vision Mixer and Production Cameraman, Jon Street of The Moth Factory

Lighting Design by David Abra

Listings information: touring dates 2018

  • Cheltenham Festival WORLD PREMIERE 7th July
  • Lichfield Festival ‘book at bedtime’, Lichfield Guildhall 13th July
  • Lichfield Festival matinee, Garrick Theatre 14th July
  • Three Choirs Festival, Tomkins Theatre 29th July
  • Oxford Contemporary Music, St Barnabas Church 14th September
  • Jack Lyons Concert Hall, York 3rd October
  • Barbican Milton Court Concert Hall LONDON PREMIERE 12th October
  • Canterbury Festival, Colyer-Fergusson Concert Hall 21st October
  • Bath Spa University, Michael Tippett Centre 24th October
  • Letchworth, Broadway Theatre 4th November

 

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