A very merry time of it is the outcome of this latest re-telling. All the familiar figures and ideas are there: Mother’s warnings about keeping to the path and not getting into conversations with strangers, Granny who is as ancient and ailing as ever, arch villain Wolf, and stalwart Woodcutter. Little Red Riding Hood herself is spry and enterprising: an appropriately updated heroine well up for any challenge that comes.

Especially good fun is the flat at the back of the playing space. Rachel Hilliar’s design has numerous flaps and cupboards thereon, which provide nifty exit or entrance ways as well as a host of surprise props (Danielle Ferreira-Beckner).

Completing the creative production values are inescapably atmospheric lighting and sound from Sean Hawkins and Matthew Everingham respectively. Deborah Moor’s costumes sum up the characters they dress beautifully and establish the doubled roles with jaunty flair.

All this and of course the trio of talent actually fronting the audience, is directed with a great sense of story on director Daniel Pengelly’s part and a sound understanding of how young audiences engage. 

Thus, the opening and snatches of essential narration use projected word and image and the opportunities for audience participation are well judged, rather than, as sometimes happens, unhappily contrived. 

The wonderfully versatile Kathleen Burns is Wolf and the Woodcutter, relishing in particular the dastardly plotter role. As Mother, Monique Clark has more to do than is often the case for this role, extending into super-safety conscious palaver in response to Little Red’s adventurous stunt ambitions. The doubling of Mother and Granny involves her also in a right old time as the dottery ancient.

Little Red, as befits an age far far far away from Brothers Grimm and others, is a perky, athletic type, not a whit encumbered by her hooded cloak and billowing skirt. This one is a daredevil, a resourceful youngling who doesn’t exactly follow advice but initiates her own way out of sticky situations when the worst happens. Emily Burns plays her with bright enthusiasm.

My co-reviewer is quick to spot the ‘message’ wise children might take from the experience. “Imagination,” quoth she, “is the most important thing you can have.” Little Red certainly has it. The production itself is generously endowed.

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