THE tales of Hans Christian Andersen are often depicted as light hearted and fluffy – all ugly ducklings, diminutive children and pompous emperors. But that is to do them a huge injustice. They are, at heart, as dark as anything created by the Brothers Grimm, dealing in misery, misfortune and death.

And it it is that darker, dreamlike world which is evoked so powerfully by Emma Rices’s startling production of The Little Matchgirl and other Happier Tales.

A haunting show, it begins with the silent Little Matchgirl herself – an eerily realistic puppet, controlled with a perfectionist’s eye for detail, and children’s mannerisms, by Edie Edmundson. The girl sells matches to a soldier who attempts to abduct her. We are clearly in a twisted world.

That leads into the retelling of Thumbelina, which is also more sinister than I recalled. Beautifully played out with puppets and extravagant costumes – that sported by the toad (played by Karl Queensborough) is extraordinary – it is less fairytale than brutal morality lesson about the nature of consent and the dangers of predatory strangers.

The second half gives us a delightful retelling of the The Emperor’s New Clothes – which is less dark, but also laden with morals and metaphors. The moment where the fickle aristocrat reveals his expensive new ‘costume’ is an utter delight – and most unexpected. I won’t ruin the experience with a spoiler.

The production finishes with a quick trot through the Princess and the Pea – which also carries nasty undertones and, no surprise, an unhappy ending.

The whole show has a strange, lurid carnival quality, enhanced by eye-popping circus costumes and fabulous music by multi-instrumentalists Jon Gingell, Alex Hearne and Dave Johnzy.

The Little Matchgirl is, by its nature, a children’s show, though not for the very young or easily alarmed. Even this big kid found it unsettling, though utterly wonderful.

TIM HUGHES 4.5/5