For the young at heart

Los Angeles Opera’s new production of Engelbert Humperdinck’s “Hansel and Gretel,” which opened an eight-performance run Sunday at the Dorothy Chandler Pavilion, is a decidedly family-friendly version that is more likely to engage children than adults.

Handsomely and ingeniously devised by director-designer Douglas Fitch, with a catchy new, updated English libretto by Richard Sparks, this version contrasts markedly with the company’s previous co-production with New York City Opera seen here in 1999. That one presented a gritty world of 19th century New York immigrants. This one takes place in a Romantic folk-tale land.

There is so much to recommend it. The set magically breaks apart, and jigsaw-like set pieces unpredictably glide in and out to create a dense, claustrophobic forest or a strange, almost otherworldly Southwestern landscape. The gingerbread house looks exceptionally enticing and is lighted lovingly, as everything is, by Mark Jonathan.

Colorful, fantastical, bright-eyed creatures that could have stepped out of fuzzy New Yorker cartoons or Maurice Sendak books populate the forest and surround the children in their sleep, raising their twiggy arms in benediction.

The Sandman is an iconic giant head that scuttles across the stage. The Dew Fairy is a huge, gliding, lighted Christmas tree. The chairs, table and broomstick holder in the family cottage come to life, dancing along with the kids in their games. A hint of evil comes early when the witch’s broom flies across the sky, trailing sparks like fireworks.

For all that, there is too much cartooning, cushioning and playfulness in the production to feel the children are actually in danger. Adults can stay disengaged.

Not so in the previous production, created by James Robinson and revised earlier this month in New York by City Opera (it closed Sunday). There the children got lost in an ominous Central Park and were stalked by a rich dowager. There were constant reminders of child abduction and abuse.

Even the kids’ dream-pantomime there proved deeply poignant, as Hansel and Gretel “saw” a world of wealth, ease and idyllic family life and realized that they would never have it. The final liberation of the imprisoned children reduced Hansel and Gretel -- and some of the audience -- to tears.

Here, huge nightmarish, close-up projections of the mother’s angry face on the back wall of the cottage and her off-stage amplified threats came as close as anything to connecting with children’s primal fears. Yet the technology also distanced those feelings and burdened soprano Luana DeVol.

Fortunately, the new cast was uniformly excellent. Gravelly voice Graham Clark was a standout witch in ballerina or maybe fairy-princess drag, nimbly running up the stairs of the house, sliding down a two-story lollipop stick, flying around on his broom and opening the gingerbread house as if revealing a puzzle box.

Lucy Schaufer and Maria Kanyova (in her company debut) sang Hansel and Gretel, respectively, with strength and winsome charm, blending beautifully in the evening prayer and acting their roles persuasively.

DeVol made a secure company debut in the problematic role of the exasperated mother who must steer a credible course between over-the-top anger and love for her kids. Donnie Ray Albert, who sang with a strong, somewhat cloudy baritone, had an easier job enacting the affable, slightly inebriated father.

Encumbered in elaborate costumes, Christine Brandes and Stacey Tappan sang the Sandman and Dew Fairy, respectively, with ringing tones. The Los Angeles Children’s Chorus sang the gingerbread children plaintively.

For his part, conductor Alan Gilbert, also making a company debut, brought a rare Gallic transparency to the score, without losing any of its Romantic flavor or forward momentum. When the music needed to soar, Gilbert made sure it did, and he also made sure that the Wagnerian orchestration didn’t overwhelm singers who were pretending to be kids.

Inevitably, there was one opening-day glitch. The lights in one of the three magic mushrooms malfunctioned and went out. But that’s how openings go.

Seat cushions are available throughout the run to help small children see over the folks in front of them. Ask for them. Intermission and post-performance activities for kids also will be held at all the matinees.

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chris.pasles@latimes.com

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‘Hansel and Gretel’

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A.

When: 2 p.m. Sunday, Dec. 9 and 17; 7:30 p.m. Nov. 29, Dec. 2, 6 and 14.

Price: $30 to $220. Half-price tickets for 16 and younger at the box office or by phone.

Contact: (213) 972-8001.

www.laopera.com.