In the space of a week, Christopher Hampson has bought a house and two rescue greyhounds, and also launched a brand-new touring ballet production. But as the artistic director for Scottish Ballet for 18 months – in which time he has already been at the helm of around six productions – he’s getting used to a hectic schedule.
“It has gone so fast,” said the English director and former dancer who, at 40, has already produced work for the likes of the Royal New Zealand Ballet, English National Ballet, Prague National Ballet and the Atlanta Ballet.
“I can’t believe we’ve done as many productions as we have. There was a certain amount of repertoire in place before I started, such as The Nutcracker, but after that it was straight into Highland Fling, the Edinburgh festival, the autumn double bill and this new show. And we’re already looking ahead to taking Highland Fling to Hong Kong, and then we’ve got Romeo and Juliet. It’s a lot, but it has all been so worthwhile.”
Now an official resident of Scotland, Christopher has made it his mission to give the company’s latest original production a distinctly Scottish feel. Hansel and Gretel, which heads for HM Theatre, Aberdeen, next week, and Eden Court, Inverness, the week after, is most definitely a homegrown production.
Before even so much as a single ballet pump was worn, or a costume design sketched, the people of Scotland were consulted in a creative project, Hansel, Gretel and Me. Through creative writing competitions, a series of cross-generational dance performances and workshops, a new version of the classic Grimm’s fairytale has arisen.
“I knew I wanted to do a production in a different way. Even before I became director of Scottish Ballet, I was thinking about how to get people involved in all aspects of a production, from its story to designs and writing – all the peripheral stuff that goes into making what you see on stage,” said Christopher.
“So that’s why I threw the research wide open to let people in to experience going into a story and pulling out the threads that are important to them.”
And so, research done and dusted, the finished production now on tour has definitely been informed by the people themselves. Some changes to the tale are more subtle, such as setting the entire production in the forest (as per the feedback from the younger generation). Others, though, have altered the story more fundamentally.
For one, the role of the wicked stepmother is now gone. Christopher explained that, in the time of the Grimm brothers, this was more of a moral message – one which isn’t reflective of contemporary families. This change, while seemingly minor, has allowed room for the most memorable role of the tale – the witch – to be expanded significantly.
Traditionally, the malevolent child-snatcher is kept to the final part of the story; in Scottish Ballet’s innovative version, she is in it from the start, albeit disguised initially as a mild-mannered teacher.
“We really needed to make the witch a central part of the story,” Chris said. “After all, it’s the bit that kids wait for.”
Beyond the extended role of the witch, the ballet production features music from Engelbert Humperdinck’s Hansel and Gretel operatic score, a gang of ravens and wonderfully re-interpreted roles of the central duo’s parents – watch out for plenty of cigarettes and tins of lager.
However, at its core, it’s still a story which will be very recognisable to audiences.
“The main reason for choosing the production was because it’s a really good story that most people know a version of. And that’s really important for a family ballet, that the story is recognisable. That doesn’t mean it has to be predictable, but it’s something to hang your hat on,” said Christopher.
The themes it explores, although tweaked to fit with the new direction, are also strongly linked to the source material.
“It’s all about the idea of people feeling they need more of something, or that they are lacking something,” Chris explained.
“When you first meet Hansel and Gretel, they are living in a loving family, but they have nothing in material terms. And so, when they find the gingerbread house, they think it’s all their dreams coming true. But actually, what they really need to do all along is just be a family.”
Scottish Ballet’s original production of Hansel and Gretel will be performed at HM Theatre, Aberdeen, from Wednesday, January 15, to Saturday, January 18. Tickets are available from www.aberdeen performingarts.com or by calling 01224 641122. It will then be performed at Eden Court, Inverness, from Wednesday, January 22, to Saturday, January 25. Tickets are available from www.eden-court.co.uk or by calling 01463 234234. Both dates will feature Scottish Ballet’s Get Closer programme, including the Wee Hansel and Gretel shows and workshops for younger audiences, plus Ballet Cafe, pre-show talks, post-show discussions and family insight programme. For further information, visit www.scottishballet.co.uk
Eve Mutso, soloist for Scottish Ballet, takes on the role of the witch for the new production.
Are you enjoying playing the witch? It’s great fun, I’ve had such a good time with it so far and the character is only going to get crazier. It’s great to get a live audience after weeks and weeks of rehearsals. It’s such a horrible, cold, manipulative and cannibalistic character, but I’m having fun. I get lots out of it.
She sounds awful She’s also quite funny, quirky and beguiling when she first meets Hansel and Gretel. They can’t take their eyes off her and she seems somehow reassuring. Especially later on, when she guides them through the forest. They really follow her. It’s that strange comfort of a stranger. But she looks and smells nice, and is a really witchy witch. Very manipulative and smart.
How did you prepare for the role? She starts off being quite smart, so it’s not that I need to get to the horrible side of the character straight away. But the music helps a lot, as does the energy I get from the other characters. So that helps me get into the mindset when she starts doing horrible things.