Hansel and Gretel

The following review appeared in the Washington Post on October 16, 2007.


There are few operas as family-friendly as Engelbert Humperdinck's "Hansel and Gretel." Although it is the most Wagnerian of all children's operas -- Humperdinck was Wagner's assistant and his son's music tutor -- it has warmth and sweetness that make it far less grim than the Grimm fairy tale on which it is based.

The new production by Opera Theatre of Northern Virginia is a perky one, sung in English and set for some reason in the 1950s, when modest suburban houses apparently had dark witch-filled woods nearby. It's compressed to one hour, preceded by a chance to watch the stage being set up, and followed by a question-and-answer period. Sunday's performance at Thomas Jefferson Community Theatre in Arlington had plenty to offer novice opera-goers. Director Joe Banno kept the action (and scenery) moving briskly, and John Edward Niles conducted a chamber group -- string quintet, woodwind quartet and piano -- with enthusiasm.

Soprano Katherine Osborne was bouncy and bright-voiced as Gretel, and mezzo-soprano Elaine Dalbo made a playful Hansel. Soprano Sarah Philippa was both the harassed mother and the farcical witch -- with huge nose, purple wig, rolling-pin wand and a vacuum cleaner to ride. Baritone Wade Thomas was a strong, stolid father. And soprano Kathy Hankins made the nighttime Sandman and morning Dew Fairy equally silly. Unfortunately, the cast's words were not always audible -- apparently a problem with sound rather than enunciation.

A nine-member chorus of local children brought brightness onstage at every appearance, even when moving scenery.

The performance will be repeated Saturday at 4 and 7 p.m.

-- Mark J. Estren