Part of the fun of this year’s naughty panto of Hansel and Gretel is wondering how far the innuendo will go.
Every time I hear the names ‘Hansel & Gretel’, I think of the terrific Warner Brothers’ animated short parody: Bugs Bunny is the narrator and saviour of the children, the unkempt Witch Hazel with her hairpins flying everywhere, who rides side saddle ‘like a lady’ on her uncontrollable broomstick, and the two delightfully rotund, chocolate-stained-faced German-speaking tots. I laugh whenever I get to see that short film, since the adult implications and inferences still offer great entertainment value.
That same entertainment value can be enjoyed at the Port Hope Capitol’s yearly traditional naughty theatrical show. This year, it’s Hansel & Gretel: the sticky & sweet panto.
Written and directed by Capitol Artistic Director Rob Kempson, he writes in his Director’s Note: “[the Capitol panto] continues to…bring people together from across the region for a shared experience of entertaining by offering familiar stories, silly characters, local/timely comedy, and broad selection of hit songs.”
This silly, far-fetched, outlandish and ‘adult’ production is just what theatre audiences need right now as we approach the ‘busyness’ of Christmas and New Year’s. We need to smile and laugh. We need to lighten up.
Hansel and Gretel’s uncaring, sexy, eager-to-please stepmother (Arinea Hermans) wants to send them away so she can do all sorts of naughty things to their Father (Jeremy Lapalme). The audience then meets the effeminately lean ‘not skinny’ Hansel (Amir Haidar) and the outspoken Gretel (Michelle Yu), who return from their dance class dressed in German costumes.
The kids somehow manage to get lost in the woods and end up in front of the wickedly sassy Witch (Jacob MacInnis), who threatens to fatten them up before eating them. A strong ensemble of singers (Kory Fulton, Yunike Soedarmasto, and Nathaniel Judah) completes outlandishly wacky adult situations and characters, where my guest remarks at intermission: “There’s no way that reference will be in the family version.”
The show’s creative team imaginatively whisks the audience away thanks to Anna Treusch’s resplendent, larger-than-life storybook setting. Joyce Padua’s colourfully bright costume designs are eye-catching as each character makes their initial entrance. Michelle Ramsay’s lighting design warmly envelops that sense of childlike innocence one moment, while a spotlight and a look on the actor’s face signify something else. A slight quibble, and it’s just that, is Christie Heriot’s sound balance issues between the group ensemble singing numbers and the two-person band, which sometimes overpowers. Yes, audiences will recognize and probably know the lyrics of contemporary songs. Nevertheless, some in the audience might not.
Kempson writes and directs with a knowing and amusing wink at the risqué. Since it’s the naughty version, he knows he can get away with the occasional push and prod here and there. He does, and it’s great to have a good belly laugh where I did in the opening musical number in a welcome to Port Hope. Genny Sermonia’s choreography is, at times, hip-swivelling and slinky in gyration (I wonder if some of the musical movements might be toned down for the family version). Music Director Scott Pietrangelo uses arranger Jeff Newberry’s modern, harmonic arrangements of contemporary pop music to create terrific-sounding moments. Jacob MacInnis’ impressive homage to singer Celine Dion is just one example.
The eight-member ensemble looks and sounds fantastic. They’re ready for some fun (and in this cheeky version, there’s the occasional reference that even made me raise an eyebrow). But it’s cheeky… you know that going in, and so does Kempson.
As the title characters, Amir Haidar and Michelle Yu remain adorable throughout. Haidar’s Hansel (he’ll tell you how it’s pronounced) says he’s uncomfortable in the costume, while Yu’s Gretel is endearingly sweet, but never over-the-top sickening. Jeremy Lapalme’s Father’s ‘arousal’ at the hands of the kids’ stepmother (Arinea Hermans) is a riot, and I’m sure the two must tone it down somewhat for the family version.
Jacob MacInnis is a sassy, finger-snapping, can’t-touch-this kind of Witch, except when he allows Sour Patch Man six-pack ab, tight yellow shorts, dancer Kory Fulton to do so. Yunike Soedarmasto and Nathaniel Judah provide solid vocal backup and help smooth the movement of set pieces, keeping the plot flowing without ever feeling rushed.
Once again, in his Director’s Note, Kempson states that the absurdity of Hansel and Gretel’s story would make it a perfect pantomime because it’s outlandish, far-fetched, and silly. It pokes fun at all things from Port Hope and the surrounding area to its residents and their various idiosyncrasies. It’s never mean or vicious.
Please make time to get to the Capitol this holiday season and see the show.
Running time: approximately two hours with one twenty-minute intermission (take advantage of the time and see the Christmas trees in the lobby)
The production runs until December 28 at Port Hope’s Capitol Theatre, 20 Queen Street. For tickets: capitoltheatre.com or call (905) 885-1071. Remember, there are two versions: FAMILY and NAUGHTY. Make sure you get tickets to the one you deem appropriate, especially if there are young children.
HANSEL & GRETEL, the sticky & sweet panto (The Naughty Version)
Written and directed by Rob Kempson
Musical Arrangements by Jeff Newberry
Musical Direction by Scott Pietrangelo
Choreography by Genny Sermonia
Sound Designer: Christie Heriot
Set Designer: Anna Treusch
Costume Designer: Joyce Padua
Lighting Designer: Michelle Ramsay
Band: Scott Pietrangelo (keyboards), Justin Hahn (percussion/guitar)
Performers: Amir Haidar, Michelle Yu, Jacob MacInnis, Kory Fulton, Arinea Hermans, Jeremy Lapalme, Yunike Soedarmasto, Nathaniel Judah
