Review by Yasmin Elahi
Shake & Stir’s latest production ‘Grimm’ is a bold, warped take on the Brother’s Grimm fairytales. Featuring characters such as Cinderella, Little Red Riding Hood, Rumpelstiltskin and Sleeping Beauty, this show is an eclectic mix of cabaret and circus with an unsettling undertone that turns the beloved fairytales into a twisted nightmare.
This show was adapted by Nelle Lee. Her concept of bringing the fairytales together in a recognisable yet totally contemporary way breathed new life into the classic tales. The overwhelming undercurrent of seedy sinisterness leaned into the original concepts of the Grimm tales – most of which are disturbing and do not have happy endings. The dialogue was authentic and impactful, keeping the pace of the show lively and the audience engaged. The use of German language throughout heightened the authentic Brother’s Grimm foundation of the play.
Director Daniel Evans made exceptional use of the space at the Cremorne Theatre. The blocking choices extended past the rather small stage, through nooks and crannies cleverly incorporated into the set design by Josh McIntosh. The chase sequence was expertly directed, as was the final scene which was visually impactful, disturbing and brilliant. His use of lighting and sound to conjure up a disturbing atmosphere was impactful and created an unsettling feeling throughout the show.
As soon as audiences walked into the theatre, they entered another world – ‘The Witches Tit’. McIntosh’s vaudeville inspired set design transformed the theatre into a travelling circus from years gone by. Hidden entries and exits enhanced the warped feel of the play and the exposed lighting rigs on either side contributed to the carnival feel of the show.
Lighting design by Trent Suidgeest was bold and fantastic. The use of blackouts, incredibly fast choreographed lighting cues and imaginative lighting choices enhanced the vaudeville feel of the play, as well as creating suspense and immersion. The cues were executed perfectly in time with the action on stage, creating a very polished and professional feel.
Sound design by Guy Webster, who also composed the music, was immersive. There was a mix of live music, played by Brendan Maclean, as well as pre-recorded music and unsettling sound effects. All blended seamlessly with the lighting and set design to enhance the otherworldly feel of the show.
Costume design by Paul McCann was classic fairytale meets steampunk. The combination of iconic clothing pieces such as the red coat clashed with distressed tuille skirts and ragged worn period-garments, a visually reflection of the classic-meets-modern approach to the show itself. Visually sumptuous and carnivalesque, the costumes clearly defined the multiple characters and made it feel like there was a much larger cast that just four actors.
Each of the actors embodied multiple characters throughout the performance. Brendan Maclean personified the villians of the evening, namely the Wolf. He also played unsettling piano accompaniments, providing live underscoring to scenes, as well as performing vocally. His enigmatic and intriguing stage presence suited the subject matter of this show and enhance the warped nature of the show.
Nelle Lee, who also adapted the play, shone as the exuberant, innocent yet all too knowing Little Red Riding Hood, among other characters. She was the main protagonist in the show and guided the action with her child-like demeanour, which was at odds with her words, again leaning into that seedy, warped feel that pervaded. Lee also expertly puppeteered the beautiful fawn puppet with such lifelike finesse.
Aljin Abella was mercurial and mischievous as Rumplestiltskin, among other characters. His spritely nature, energy and engagement with the audience brought levity to the evening, which made the darker portions of the show even more sinister.
Rounding out the cast was Angie Milliken, who played Cinderella (Ashenputtel) as well as other characters. She was perhaps the most innocent and kind-hearted of all the characters and Milliken embodied this with sincerity and soul.
Overall, ‘Grimm’ was a debauched, warped retelling of the Brothers Grimm fairytales. Utilising a small cast and expert creative team, Shake & Stir have once again created a piece of memorable, boundary- pushing theatre that was entertaining, unsettling and thought-provoking.
Image Credit: Joel Devereux