Reviewer: Dominic Corr
You might, perhaps, recognise a tale or two this evening. Not precisely the way you imagine, maybe less animation, more blood-spilling or suffering. The Grandmothers Grimm re-opens the storybook, a humorous look at birth of well-known tales and the women who rightfully deserve credit.
The Brothers Grimm, capitalising on the darker tavern stories, were in part early adaptors. They would remove the grit, the cannibalism and deceit from these tales, but did they deliberately erase the memory of the female authors they took them from?
Quaint, The Grandmothers Grimm has a folk-feel to the production. Tables are leapt upon, yarns spun about wicked fairies, bears, and wee girls in red hoods. Marie Hassenpflug, an unsung hero of Fairy tales, is dining with the Brothers, sharing stories as she exposits concern over the authenticity the tales ownership. As they are cut and trimmed to be profitable, we begin the realise there might be sinister motifs afoot.
Finding counterbalance in darkness, the team shed light onto the grisly side of our timeless fairy tales. Not all of these tales have a happy ending, the women who would tell these stories for coin did not. As for The Grandmother’s Grimm, it ends on a short note. A subtle, commentary driven monologue that tapers off with a whimper more than a snarl.
The Grandmothers Grimm’s ghastliest tale is one of an unfortunate truth. That as we share stories of ghouls, pig men and werewolves, that society is the foulest creature for these matriarchs of monsters. The Princesses in these tales, their agency stripping away before them at the hands of ‘edits’ are no different than the women who have credibility stolen from them.
Runs until 17 August 2017 | Image: Contributed