Beautiful but baffling is how I would describe, Hex, the National Theatre’s seasonal offering. This is the second attempt at running this show, the first, hexed you might say, by sickness, writes Katie Kelly.
The basic plot is a retelling of the story of Sleeping Beauty which admirably turns the rather passive princess, whose only traditional purpose is to be asleep awaiting rescue, into a much more interesting, powerful woman, who gets to star in the second half fully awake. Her mother-in-law really takes that stereotype to dark depths. An ogre played to perfection by Victoria Hamilton-Barritt, she actually tries to eat her own grandchildren in a scene of quite laboured horror which felt misjudged in a musical attended by small children. And here lies the problem. If Hex is really aimed at a family audience then I would have gone a bit lighter on the cannibalism. If it is leaning into the Grimm Brothers’ tradition of darkness then maybe the marketing should change. Although there is plenty to delight smaller folk, perhaps this works best for teenagers who might sniff at more traditional family shows. My 14-year-old companion enjoyed it.
Sets and costumes are a feast for the eyes. The musical opens with the spellbinding descent of the three High Fairies from the roof, dresses billowing and good use is made throughout of the power of flight. A fabulous floating castle doubles as a bed for the sleeping princess and is truly enchanting.
The acting of the whole cast is strong. Michael Elcock plays Prince Bert with subtlety and great emotional range. The choreography is tight, humorous, and energetic. Star of the night was Lisa Lambe as the Low Fairy. Born without wings and therefore an outcast from her world, she bumbles through life trying to atone for her existence by fixing everything around her. Fairy gets in over her head when invited to the palace to bless a baby princess with sleep. Treated poorly by the sleep-deprived royals, she utters a curse instead of a blessing and in the process loses her magic. Despite her very best efforts to undo her damage, the princess succumbs to the thorns who for years poison a comic chorus of hapless princes. Who will get past them to awaken the princess? No plot spoilers here. Lisa’s voice is beautiful and carries us through the weaker moments, despite occasionally banal lyrics.
With some good editing and a clearer sense of who Hex is aimed at, then maybe this could make a ‘third time lucky’ return?
National Theatre, South Bank, SE1 until 14th January.
Booking: www.nationaltheatre.org.uk
