With its towering stone walls and rich red velvet curtain, the Sarasota Opera House is, in itself, an enchanting venue. Paired with the talents of the Sarasota Opera artists, the opening night performance of Engelbert Humperdinck’s Hansel and Gretel, directed by Felicity Stiverson, was a fairy tale brought to life. 

A solid overture from the Sarasota Orchestra musicians (led by veteran Sarasota Opera conductor, Anthony Barrese) established the evening’s themes of adventure, excitement, whimsy and just a bit of danger. In addition to the orchestra, the opera also partnered with  the Sarasota Ballet School and Conservatory.  Dressed in varying costumes of greenery and hooded capes, these student dancers added elements of mystery and intrigue to the forest setting. 

Though both were initially a little jittery, Kara Morgan (Hansel) and Kerrigan Bigelow (Gretel) were sound in their roles, capturing the childish essence of Hansel and Gretel’s sibling dynamic. Humperdinck’s version of the tale differs from the original by reversing their ages; thus, Gretel is older than Hansel. Morgan plays a most convincing annoying little brother, dancing around the stage, lobbing insults and sticks at Gretel and behaving with impetuous rashness. Her high, crystalline voice lends itself nicely to Hansel’s youth and mischievousness.

Bigelow contrasts this by bringing to her performance of Gretel a youthful innocence, playfulness, and the protective instincts of an older sister. Her voice, while high and clear like Morgan’s, possesses a healthy vibrato and differs just enough to be able to tell the two apart in duets. They mesh strikingly well in Act II’s “Evening Prayer” scene, where Bigelow calms her vibrato to fit Morgan’s sound. At moments during this scene, they almost sound like one voice. 

Three other major cast members also gave memorable performances. Lindsey Polcyn as Gertrud, is the perfect high-energy, overwhelmed, overworked “Mother Hen,” fussing and pecking at her family with bright and powerful vocals. Spencer Reichman portrays her husband, Peter, with a boisterously carefree yet seriously fatherly energy. As the only baritone, Reichman would have stood out even without his rich and booming Rallala’s. 

Judging by the cheers and whistles that followed her exit off-stage, the fan favorite of the evening appeared to be Lisa Chavez as the villainous witch. For every actor, the challenge of playing a familiar character lies in balancing the character’s essence with the provision of novelty. It’s a fine line, and Chavez walks it well. Falling somewhere between Willy Wonka and Hannibal Lecter, her witch is witty and humorous in her mission to eat Hansel. Chavez’s well-aimed delivery of quips like “Mine is the treat to end them all” solidifies these qualities. 

Friday’s performance not only highlighted the talents of the aforementioned stars, it also showcased the strength of the supporting children’s choir, technical crew, and directors. Each element - the set design, the costuming, the lighting, the choreography, and the functionality of the props (especially the gingerbread witch at the very end) - established the reality of Hansel and Gretel’s world. Despite some of its members being very small in age, the children’s choir is a powerhouse of sound in the show’s final moments.  

The production opted for the English translation of the originally German tale, likely a strategic choice based on the demographics of the opera’s patrons. Additional accessibility was provided by subtitles playing on a board above the stage, which was particularly helpful for those who may, like myself, struggle with auditory processing of new material. 

Enchanting and whimsical, the Sarasota Opera’s Hansel and Gretel is a delightful experience, reminding us that even in our most hopeless of times, youthful innocence and optimism can light the way forward.