'Hansel and Gretel'

Photo courtesy of Mark Matson

Call it a Cinderella story for Hansel and Gretel. Austin mezzo-soprano Liz Cass, who has enlivened many an Austin Lyric Opera production (Carmen, Cinderella, The Star) in supporting roles, got to step into a major part in ALO's final show this season when the singer who was originally cast had to withdraw. Now, some performers might balk at being told, "We think you're ideal to play this witch," but when the witch in question is the one in Engelbert Humperdinck's popular opera – as deliciously wicked as an operatic villain gets – it's confirmation that you have serious chops as a singer and an actor. And that's especially true for ALO's staging, which transposes the story to New York City in 1893 and makes the titular siblings immigrant children. No pointy hat and wart-encrusted nose for this witch; she belongs to the Park Avenue elite, a wealthy socialite who happens to collect children's souls. Cass spoke to the Chronicle about landing this juicy role and preparing for it.

Austin Chronicle: What did you know about the Witch being recast?

Liz Cass: I know [ALO General Director Kevin Patterson and principal conductor Richard Buckley] heard a lot of different people and that they had all these lists [of singers]. And then my name appeared on the list, and they were like: "Oh! Yeah! That's great. Let's do that."

AC: Had you known they were considering people?

LC: I had heard some rumblings, but I'm not really on the ground level of that decision-making [process]. It's so funny; when I found out we were doing that show, I was like, "I should have been cast in all these parts!" Because I've done almost every part in Hansel and Gretel, as far as touring shows for children. There was even one show where I was the Witch, the Mother, and the Sandman. So I was just: "Oh! I would be great in these parts." But then I knew that they'd been hearing people, and I was like, "Oh well, maybe they don't think of me as a dramatic voice." Then Kevin was like, "I need to talk to you." I'm like: "Oh no. What happened?" And he's like, "We would like you to sing the role of the Mother." I'm like, "Oh, great!" And he's like, "And the Witch." I'm like, "You've got to be kidding me." I was so excited. I can't even tell you how excited I was, just thrilled to death.

AC: So how does one prepare to be a witch?

LC: You know, this witch is a society matron and not like your typical witch. You don't have the immediate [reference points, like] she's green, she has this nose. I think sometimes when you see those things, you automatically latch onto them: "Oh, she's evil." So for me it's more psychological; she has moments when you're like, "Well, maybe she's normal; I don't know." Which I think is a little scarier, if you don't know if you can trust her or not.

The characterization comes out somewhat in the voice, but I'm not a character mezzo, so that's been interesting to play with – finding darker tones and ways to make fun of an accent a bit. I roll my "r"s. I obscenely roll my "r"s. And my posture is really important to this character. And her confidence and sarcasm. At times she's more intimidating than right out evil from the beginning. Now, she gets pretty nasty. The English translation is so much fun because it's really dirty-nasty. It's really mean. My favorite line, I say: "And though you may claim I oppressed you/I'll think of you as I digest you? And somehow you'll always be a part of me." [Laughs] She's so sick. She's so twisted. She doesn't think she is. I don't think she thinks about it. She is who she is, and she's driven by these desires, and she has enough money that nobody really messes with her.

AC: She's the Leona Helmsley of witches.

LC: Yes! She's like if Leona Helmsley and Hannibal Lecter had a baby!

Hansel and Gretel runs Saturday, April 24; Wednesday, April 28; Friday, April 30, 7:30pm; Sunday, May 2, 3pm, in Dell Hall at the Long Center, 701 W. Riverside. For more information, call 472-5992 or visit www.austinlyricopera.org.