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‘Rumpelstiltskin’ review

  • Theatre, Children's
  • 3 out of 5 stars
  • Recommended
Rumpelstiltskin, Southbank Centre 20918
© Shane Reid
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Time Out says

3 out of 5 stars

Overblown Aussie take on the beloved fairytale

The traditional, Grimm-style ‘Rumpelstiltskin’ is a properly dark fairytale about greed and vanity, triggered by a father whose boastfulness results in the imprisonment and forced marriage of his daughter, followed by the abduction of her child by a goblin. Perhaps understandably, then, this family friendly(ish) version, a co-production by Windmill Theatre Co and State Theatre Company South Australia, takes a few strands of the older folk story and spins them in a new direction.

From the original’s ‘straw into gold’ schtick, we now get reclusive fashion designer Rumpelstiltskin (Paul Capsis), rejected by his parents because of his appearance. Harriet (Sheridan Harbridge), a girl from a poor background, is determined to make it in the big city. She falls for the airheaded actor hired to pretend to be Rumpelstiltskin in public and unwittingly rejects the original, while giving up everything as ‘credit’ so he’ll grant her greedy wishes.

Designer Jonathon Oxlade’s production has a distinctly Baz Luhrmann and Tim Burton vibe. It’s a pointy, pop-art confection of angles and primary colours, set against a swirling backdrop evocative of the psychedelic titular set from ’60s TV show ‘The Time Tunnel’. A host of projected animations and some nicely stylised movement direction all add to the heightened freneticism.    

Watching it is akin to a sugar rush and the live band is great, a swaggering extra character just off stage. Seasoned cabaret star Capsis gives an elastic, uncanny performance as Rumpelstiltskin, impish yet vulnerable. He hits surreal corners of characterisation at full speed. He’s like a Dr Seuss character come to life, coloured with shades of a slightly less scary Child Catcher.

And yet there’s something emptily calorific about director and co-writer (with Julianne O’Brien) Rosemary Myers’s production. Overblown ballads about family and togetherness sit awkwardly alongside the show’s spikier cabaret impulses. And while Harbridge is funny as Harriet, her character arc is messy.

Nevertheless, this rendition of ‘Rumpelstiltskin’ is a fun alternative if you’re not a fan of panto at this time of year. It’s brimming with imagination and hashtag-sharp in places. And when Harriet’s baby steps into the spotlight, it’s the start of a ‘Wacky Races’-style sequence that will slam you headlong into Christmas.

Written by
Tom Wicker

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