'Hans Christian Andersen’

Press, 10 May 1982, Page 6

'Hans Christian Andersen’

• ■ “Hans Christian Andersen,’’ music and lyrics by Frank Looser. New book by John Fearhley, Beverley Cross, and iTommy Steele. Directed by '.Penny Giddens. Musical direction by Malcolm Jones, for the Canterbury Children’s Theatre. Presented at the James Hay Theatre, from May 8 until May 22. Running time: 7.30 p.m. to 9.30 p.m. Reviewed by Gerrit Bahlman. delightful children rushing on„t£> the stage to greet the performers at the conclusion gaye overwhelming testimdnV to the success of “Hans Christian Andersen.” Design’d for children, the production entertained ail'ages anols an apt programme for the thirtieth anniversary production of the Canterbury Children’s Theatre. .< , “Hans” is the fifty-fifth production in a line of perforrflances which extends bagk to “The Tinder Box” in 1952,*“Hans”, is based on the Samuel Goldwyn film production which starred Danny Kqye, and is enriched by the marvellous evergreen melodifesuch as “I’m Hans Christian’ Andersen,” “Thumbelina,” “Wonderful, Wonderful Copenhagen," and “No Two People.”. < The ptoduction testifies to aiffllly fledged effort by a Vctsfteam of enthusiastic and diligent workers. Large,-col-ourful, three-dimensional panted backdrops are used regard to the time it*fokes. to design and pre-

pare them. Entire choruses are recostumed with gorgeous themes of gold, amber, and yellow, giving way to red and green as Hans moves from his village to Copenhagen. Special lighting and a gauze stage drape provide an ethereal texture that skilfully evokes the underwater images needed to spin the mermaid's tale.

This musical fairy tale thrived on the strength of its choral work and groupings. The show employs two groups of children, the Tuis and the Bellbirds, who alternate throughout • the season.. The vivacity of the large group of adults and children singing and dancing was the highlight of > the evening. Various juvenile critics loudly protested the. end of those items by exclaiming; "Where have they all gone, Mum?” and “Where are the. children now, Dad?” Malcolm Jones conducted the small, enthusiastic, but essentially limited orchestra and managed to maintain the momentum throughout some, often difficult pieces. The pace and energy of the show rests, on the efforts of Hans, played by Peter Brown. Mr Brown, who is the Theatre Society’s president, gained vocal confidence as the evening progressed and sustained a role which inevitably suffers by comparions with Kaye's dynamic portrayal.

Daniel Rapley as Peter, the - orphaned apprentice- to

Hans, displayed a developing charm. Dimitri Gabara played Otto, the business manager of the Royal Danish Ballet Company. He maintained a convincing stage presence, helped in no small part by an excellent costume.

Barry Grant, as Neils, the dance director, has made a promising start to' a characterisation which will grow as the season progresses. Madame Doro, the prima ballerina, played and danced by Dianne Honeybohe, and her corps de ballet engendered great excitement among the audience, many of whom insisted on attempting imitations during the interval.

The calibre of the acting in this production will easily meet the dramatic scrutiny of its young audiences, but it is notable that adult audiences require a deeper commitment to character than was offered.

The tendency among the principals to underplay their roles may well be a result of inexperience and lack of confidence, but it is in this phase of their work that the greatest improvement in the production may be expected. There are many professional groups who would envy the resources lavished on “Hans Christian Andersen.” It is a wonderful show for children and a fine example of the work done by the Canterbury Children's Theatre over the last 30 years, . ■ ■