BY STEPHANIE ESLAKE
Hansel and Gretel is that creepy fairytale about the children who venture deep into the forest, and are drawn to a disturbed witch in a gingerbread house.
It’s enough to give you the heebie-jeebies at the best of times; but wouldn’t it be something to see the story brought to life in an actual park, at night time, right in front of you?
The West Australian Opera is presenting Hansel and Gretel as part of its Opera in the Park series — and along with the aural storytelling, there’ll be lights and images projected into the scene so you can feel even more uneasy (but between held breaths, can actually be like: this is immersive and awesome!).
Hansel — (Ashlyn Tymms in real life) — talks us through the event and how media artist’s Sohan Ariel Hayes visual projections will draw you right in.
Also, the show is free.
Ashlyn, you will be performing Hansel — quite a role! How have you enjoyed preparing for the outdoor setting for this opera, when considering the setting of the story itself?
This will be my second Opera in the Park with WAO. Last year, I sang the role of Flora in La Traviata. It is an exciting opportunity to perform at this event.
The scale of the stage and audience is more than doubled in comparison to the usual setting of the theatre.
Growing up here in WA, I would often sing down at the beach, imagining I was singing to an audience the size of the sea. Opera in the Park conjures up those same feelings
Media artist Sohan Ariel Hayes will be using light to transform the park for your opera. How do you feel about these sorts of creative collaborations?
I first met Sohan Ariel Hayes last year after his work on Boorna Waanginy. His concepts for this production of Hansel and Gretel were immediately appealing, and I knew he would create such a unique design for the show.
He has created a moving visual feast, which has directly influenced the entire cast. Setting us in our Australian bush landscape, we are a long way from the traditional German productions set within the forest.
As a performing artist, what do you learn through productions that feature other important art streams, too?
The musical score for Hansel and Gretel is in itself a masterpiece, filled with romantic melodies, heavy orchestration, and the human voice in full flight.
By collaborating with visual media, the opera takes on a fresh, cinematic experience for the audience. They will be taken into the world of Hansel and Gretel, and no matter what age or background, they will be able to relate to the story.
On a broader level, why do you think it is important for Australian artists and arts organisations to be joining forces? Why is collaboration leading the way?
Artists draw inspiration from one another, where different artforms influence and create unique work. Anything is possible when you come together with costume designers, set and lighting designers, conductors, directors, dancers, actors and media artists, such to name a few.
Opera has always been focused on drawing together these creative inputs, which makes it the most collaborative of all the artforms.
How do you feel the design of this collaborative event fits in with current or future industry trends?
Opera has had a long history of reinvention, going back hundreds of years. This is still going on today, and productions such as this Hansel and Gretel show how traditional music drama can develop with modern technology and reach new audiences. It’s such a thrill for me to share this experience in my hometown.
See Hansel and Gretel as part of the West Australian Opera’s free Opera in the Park this February 22 at the Supreme Court Gardens in WA.
Images supplied.
