Traditional fairy tales are in many cases outdated. They portray mean characters and “Grimm” realities, not to mention how frequently women are objectified. It is true that they were intended to teach about the dangers of the outside world and, although nowadays we don’t need horripilant fairy tales to teach about potential dangers, their characters are deeply rooted into the collective memory. So with some bites here and some cuts there, we can construct a new imagery that, rather than focusing on danger, reflects good qualities. And it is so much fun! If children stay in their seats for 70 minutes without turning an eye away from the stage and end with huge smiles on their faces, it is worth some biting and cutting.
For Wolf Witch Giant Fairy in the Royal Opera House's Linbury Theatre, the best bits from a handful of fairy tales have been selected. It is packed with action and values while the baddies are treated lightly and comically. Little Red Riding Hood is the leading role, a gentle soul who, after being tricked by Wolf and getting lost in the woods, will come across the popular slavic witch Baba Yaga, a village whose resources have been taken away and some magic beans that grow up into the sky. A surprising ending involving a woodland fairy will be revealed after the protagonist – with astuteness, goodwill and compassion – manages to reach Grandma’s cottage.
The scene looks delightful, painted and illuminated in a traditional way, resembling an improvised set. In fact, the events take place on an elevated wooden-like round platform in the centre of the stage, making it easier to attract attention to the main actions. The musicians, all on the stage, play, sing and participate in the story from their positions around this central point. A narrator steps into the constant movement a few times, which helps to tie up the story. The different situations are brilliantly resolved with clever movements and well crafted, beautiful props and a lot is left to the imagination.
Worried that my 5 year-old would find it difficult to follow the argument I asked a couple of times: “Do you get what is going on? Do you understand the singing?” “Yes! I do! And shut up, I’ll miss what they say!” was the response. Wolf Witch Giant Fairy is a mini opera where everything is sung. The inspiration for the compositions is rich and varied, from jazzy moments and cabaret-like performances, to folk songs, melismatic singing and highly rhythmic accompaniments. The music that introduces Baba Yaga is clearly of slavic inspiration and the part about the villagers whose golden goose and a golden harp have been taken is melodic and melancholic. The climax of the story (when Wolf eats Little Red Riding Hood) is dramatised by highly rhythmic music and singing and the use of the colour red. This powerful colour is also shared by the three triumphant women (Little Red Riding Hood, Mother and Grandma) after we are told the story of the woodland fairy. No fussy moment here as the fairy is portrayed by a bearded actor, but the music and the movement of the wings is what captivates us.
Wolf Witch Giant Fairy is a fantastic piece, cleverly crafted and brilliantly structured around a brave female character. The play is driven by varied, beautiful music and singing which will help little ears and brains to open up and will spark a love for musical drama in them.
