Sadler’s Wells Digital Stage
November 30, 2021
When you find yourself engrossed once more by a work you’ve seen several times previously, it’s a sure sign it’s something special. That’s precisely what happened when I tuned in to Arthur Pita’s magical The Little Match Girl on Sadler’s Wells Digital Stage.
The specially shot film grabs you immediately with the shadow of the Match Girl clearly visible on the huge Moon, which dominates most scenes. Almost immediately, a close up (one of many) of composer-musician Frank Moon’s face then suggests mystery. Indeed, the use close-up is excellent throughout, taking you right into the action, letting you really see the characters, but without overdoing it.
The Little Match Girl is based on Hans Christian Andersen’s short story about a young girl (here called Fiammetta Russo) struggling to sell her matches on Christmas Eve, which is believed to be based on his own mother’s experience of being forced as a child to go out and beg on a cold night. Pita relocates the tale to the wintery, snowy streets of the imaginary Italian town of Santo Stefano sul Tuscio (brought to life by Yann Seabra’s delightful set), introducing other characters along the way.
Photo Phil Conrad
The work is carried by Corey Annand in the title role and Moon’s great music. Annand is fresh-faced, innocent-looking and light on her feet in dance that’s full of sharp turns and free-spirited leaps. One senses an underlying optimism and belief in people, the latter in particular making her very vulnerable; and, perfect for this role, she has an uncanny ability to look about 12 years old.
On stage, Moon is off to one side. One of the great pluses of the film is that we really get to see him. With his black shadowed eyes, black topper and dark coat, he also adds another layer of interest.
Although there are moments of great humour, especially one cartoon-style chase, Pita doesn’t shy away from the darker side that is so much a feature of Andersen’s storytelling. The young Fiammetta is bullied, assaulted and robbed. She’s ignored by the townsfolk, although the adults of the Donnarumma family seem absurd rather than obnoxious. Their spoiled daughter is a different matter entirely. Children can be very cruel. The family’s wealth is emphasised by the colour in their costumes; a stark contrast to the Match Girl’s dull greys.
Having struck her last match, it’s remains falling to the ground like magic dust, the Match Girl dies in front of the grave of her grandmother, who emerges to take her to the Moon. Pita’s shift from a sort of neo-Victorian setting to a more modern-day one jars a little. But he does have great fun with a radio-controlled lunar buggy and having Fiammetta dance with an astronaut. The moment when he comes to leave and the lunar module won’t start is quite amusing. A match solves the problem!
The end, with the Match Girl lighting the stars in the night sky is beautifully poignant, if a little sugary sweet for a story that is essentially about poverty and a call for compassion. Where Pita really scores, is giving the young girl a voice and making us care what happens to her. The Little Match Girl is also a reminder that are always people less fortunate than ourselves, people who deserve our compassion and goodwill. People from who we can perhaps learn too.
Arthur Pita’s The Little Match Girl is on Sadler’s Wells Digital Stage until January 6, 2022.