Hex | The National Theatre

The journey to get Hex to The National Theatre has been very complicated. Based on a version of Sleeping Beauty written by Artistic Director, Rufus Norris, that was staged at The Young Vic in 2002, this show was riddled with problems from the start including:

• Accusations of nepotism when Norris commissioned his wife Tanya Ronder to write the book. I’m not saying whether it’s true, but it’s important to note those accusations exist especially when Norris himself made comments on the need to acknowledge nepotism in the industry.
• The National Theatre being desperately skint following a lackluster season
• As a result of the above, Hex being Christmas rushed with much less development or rehearsal time than your usual musical

The results from last year’s attempt to stage Hex weren’t the fairy tale Rufus Norris envisioned. The press night, NT Live recording and many other performances were cancelled due to rising COVID-19 cases within the cast and the people who managed to get their reviews out has less than stellar things to say. I was initially intrigued to see it when looking at the promotional material, but after hearing the reception I decided to skip out on it.

However, I decided to give Hex a second chance on press night of all nights once I heard it would return, especially with the new cast attached. So, has time been on the creative’s side to work out the kinks, or should it be cursed to sleep for another 100 years?

Hex

Cast

• Fairy: Lisa Lambe
• Princess Rose: Rosie Graham
• Queenie: Victoria Hamilton-Barritt
• Prince Bert: Michael Elcock
• Queen Regina: Neïma Naouri
• King Rex: Kody Mortimer
• Bruiser Thorn: Mark Oxtoby

Ensemble: Zaynah Ahmed, Marc Akinofarlin, Christoper Akrill, Sabrina Aloueche, Ben Goffe, Chris Jenkins, Kalisha Johnson, Amanda Lindgren, Michael Matus, Kate Parr, Ahron Rayner, Olivia Saunders, Sasha Shadid, Rumi Sutton, Riley Woodford

Rating: ★★

What is Hex about?

This twisted version of Sleeping Beauty follows a wingless fairy named Fairy who is sent by the king and queen to give their Princess Rose the blessing to sleep as she keeps the whole kingdom awake. In a fit of rage, Fairy accidentally hexes the child to fall into a death-like sleep when she pricks her finger on a thorn once she turns sixteen, losing her powers in the process.

Once the curse comes true, Fairy tries setting things right for the next 100 years by convincing ogress Queenie to raise her newborn human son Bert to become the prince who’ll break it instead of immediately eating him (soon you’ll see eating babies becomes a thing in this show). Everything seems to go well once Rose is awakened with a kiss that lead to a relationship and children, but once the couple meet Queenie with their twins in tow, Fairy has to do everything in her power to keep everyone from discovering the truth about the hex.

What did I think of Hex?

Hex takes elements of other Sleeping Beauty tales, namely Charles Perrault and an Italian one called Sun, Moon and Talia (one of the more messed up interpretations I recommend not reading to your children at bedtime as it involves sexual assault and cannibalism). I liked the overall concept of Hex as a fairytale fan and it was interesting to see a Sleeping Beauty adaptation keep the very gruesome second half that so many versions omit, especially for a production in a venue as prolific as The National Theatre. That being said, the best family friendly word I can use to describe Hex is weird.

Before I explain why, judging the material I managed to watch/listen to from last year’s run, I could tell there was some retooling that added more finesse ranging from a brand new opening scene and songs to Rose rightfully slapping Bert after he kisses her in a nod to the questionable consent surrounding it. While it’s great to see the creatives put that extra work in, they sadly don’t fix Hex’s fundamental problem.

My big problem with Hex is it’s a show at war with itself. Trying to go part family friendly panto and part dark fairytale, the clash from humorous to horrifying can happen in the space of a single line. Sometimes this can be due to out of place comedy in a dramatic scene or vice versa, resulting in potentially funny or tender scenes losing their impact. Had it fully embraced the craziness without sacrificing the emotional core, I would’ve been fully on board. The final product however, is hard to ignore, especially when it tries inserting a clunky message of nor being defined by your appearance.

What were the songs like?

Normally I’d express my opinions on a show’s music in the general section, but the songs in Hex need their own because they should be used in a masterclass on how not to write musical numbers. Jim Fortune’s melodies on their own were lovely to listen to, if not crammed in trying to add folk, pop, gospel and country into the mix (no rap breaks this time). My real problem lies in the lyrics.

With Rufus Norris himself writing them, to put it bluntly, the lyrics were the clunkiest word salad barely cohesive even within the story’s context and at points they made me physically cringe. Partly responsible for the tonal issues and underdeveloped characters, they mainly consist of random refrains that vaguely explain character motivations, i.e. Sixteen, recap what was happening onstage literally two minutes prior, i.e. new song One, or the worst culprit, constantly repeat the title of the song i.e. One Of These Days.

Coming from someone with a writing degree which included studying and writing for theatre, I felt insulted at Norris’ belief that literally anyone can write when it’s actually a skill that requires so much time and patience.

What were the visuals like?

Hex’s production and costume design was by Katrina Lindsay, who’s also credited as co-creator for the show’s concept and she managed to immerse the audience into its whimsical setting for the most part. With spinning wheels adorning the stage in a nod to the original Sleeping Beauty curse, the main castle setpiece that revealed Rose’s bed and the aerial work with the fairys’ billowing dresses were easily my favourite highlights, which were helped by Paul Anderson’s fantastical lighting design. While I think Lindsay could’ve done with the mostly bare stage, her costumes were also creative filled with vibrant colours and over the top silhouettes with a near panto edge.

What was the cast like?

If I was judging Hex based solely on its cast, this would’ve easily been a five star review. I personally find it interesting that a select number returned from last year, but the new cast are giving their absolute all that it made me feel bad I had so many issues with it. They were able to convey comedy and drama while leaning into the humour with an air of self awareness of the material and have fun with it. While the characters themselves are one note, they do their best to add some dimension.

Irish singer Lisa Lambe was a star as Fairy, bringing her own quirky offbeat charm as she tries fixing her mistakes while forming a friendship with Queenie and wishing to be among the other snobby fairies above. On top of her phenomenal acting, her gorgeous singing in numbers including the brand new Above It All that nearly saved them from their lyrical content.

Rosie Graham also shined as a more bratty Princess Rose in a generic spunky princess wanting vague adventure sort of way before going full Mama Bear when Queenie tries to barbecue her children (as any mother would). Michael Elcock brought plenty of humour and bravado as Prince Bert including his title song, who is more clueless about his mother’s true identity as an ogress until it’s finally shoved in his face.

Going from playing Cinderella’s wicked stepmother in a twisted fairytale to Sleeping Beauty’s literal monster in-law in a twisted fairytale, Victoria Hamilton-Barritt was easily my highlight as she adds as much dimension and emotion to what is supposed to be a complex villain in ogress Queenie who fights her primal urge to eat humans. However, that part falls short the second she tries to make multiple meals out of her own grandchildren and Rose before a rushed redemption arc even when she ends up responsible one of the show’s funniest moments.

The allure of the National Theatre brought in some big West End stars in the ensemble including Mark Oxtoby (Back To The Future) as Bruiser Thorn, Amanda Lindgren (Six), Sabrina Aloueche (Les Miserables) and Michael Matus. Whether they’re playing servants, thorns or foppish princes, they were all amazing showcasing their singing and dancing skills while adding their own unique humour in the case of the princes (that didn’t work for me personally script-wise).

What are my overall thoughts?

While Hex has improved from last year, the changes sadly don’t do enough to fix its main issues in the grand scheme. While I was morbidly fascinated by the offbeat whimsy and the phenomenal cast who give their all to elevate the material, the story is still severely underdeveloped with jarring tonal issues that need extra work. I’m not using this review to discourage you from seeing Hex because I could see something amazing in it, and it frustrates me that it still wasn’t quite there.

If anything, I recommend watching it for yourself to form your own opinion because I can’t say I wasn’t entertained. It’s overall insanity, good and bad, needs to be seen to be believed.

Did you see Hex during last year’s run? Will you be seeing it this year? Be sure to comment below.