Review: RED RIDING HOOD at the Masque Theatre Is Fabulous, Fun and Feisty

Pantomimes aren’t easy – at once they must captivate children for upwards of two hours while also catering to the sensibilities of the adults in the audience. RED RIDING HOOD manages to ace both of these components. In fact, this might be my favourite of the annual pantos at the Masque Theatre – the show is fun, slick, and just all round excellent.

This year’s panto, written and directed by Faeron Wheeler, reinvents the tale of Little Red Riding Hood and gives it a modern twist. The result is a topical, empowering show that teaches great lessons to the little ones (without being too didactic).

Honestly, I loved this show from start to finish. The premise is that of a town divided: the wolves rule the woods, while the villagers rule , well, the village. Each group harbours animosity towards the other: while the wolves are accused of being wild, untrustworthy, human-eating monsters, the villagers are viewed as vapid, power-hungry, technology-addicted twits.

The hot-headed Wolf King is played by Matthew dos Santos, while the Mayor, who presides over the village, is portrayed by Ethan Wilton.

Despite this divide, the Mayor’s daughter, Red Riding Hood (“Red”), played by Qondèa Avril Mkansi, strikes up an unlikely friendship with Lykana, the Wolf King’s daughter (played by Tithonia Roux). Their kinship is tested by the acrimony between the two factions but, simultaneously, the pair’s friendship challenges the conflict itself, and the stereotypes that the wolves and the villagers have constructed about each other.

This fairytale reimagining is perfect for the stage: the show’s first act is an hour, followed by a twenty minute interval. The second act is 55 minutes – the entire thing flies by and will easily entertain children for the full duration. The production has a selection of really fun songs, and a manageable number of them at that: eight numbers in the first half and seven in the second half. There’s something for everyone: Taylor Swift, Elton John, Bruno Mars, Sarah Bareilles, Queen and more – there’s even a couple of Disney/showtunes songs.

The Production Team has done an excellent job at matching performers’ vocal ranges and styles with the chosen songs. This has ensured that both soloists and the ensemble shine during their numbers. Kudos must go to Claire Thomas and Linley Meavers for their excellent musical direction.

It’s difficult to single out performers because I loved all the characters so much.

Mkansi is an excellent Red. Her powerful, clear vocals and her great stage presence make for the perfect lead. Roux is lovely as the shy, soft-spoken Lykana, trying to find her voice as the wolf princess. I really enjoyed the pair’s harmonies.

Nawaal Adams as Grandma is fabulous – she combines the character of ‘sweet little old lady’ with a no-nonsense, gumptious powerhouse. Her hilarious dance moves are a highlight for me.

I was really impressed by dos Santos’ physical characterisation of the menacing, short-tempered Wolf King. Dos Santos is a great mover and I really enjoyed his dancing and wolfish mannerisms in particular.

Wilton as the Mayor exhibits a strong, gorgeous voice – I loved hearing him sing. His energy-filled, booming characterisation perfectly portrays an out-of-touch politician who speaks more than he listens. I hope to see more of him on the Masque stage.

Jeremiah, the lovestruck Prince who is sent to win Red’s heart, is played by Andrew Munnik.  Munnik has a voice like honey, and I can’t help rooting for him, even when his overzealous character is plain wrong. He’s a great foil to Red’s search for independence.

I loved the smaller characters like George played by Wayne Ronne and Patricia played by Leyya Haarhoff. Haarhoff’s deadpan portrayal is hilarious, as are Ronne’s histrionics – especially in one particular scene.

Besides for the Great Performances and the great casting, the script itself is hilarious. I was in hysterics from start to finish.

I also loved Shaun Klaasen’s fabulous choreography – dynamic, eye-catching and effective.

Other elements I must point out are the costumes and set design. Bridget Mullins’ costumes are gorgeous and so clever: each of the wolves wears a different combination of fur (don’t worry, PETA – it’s faux), flannel, and steampunk-y shoes or jewellery. The effect is really effective and the characterisation of all the wolves was brilliant and consistent. Shout out to Hayden Steyn as Jim, the sweetest, goofiest wolf, who had me in stitches from start to finish with his antics.

The wolves’ costumes contrast really nicely with the villagers' outfits, which combine traditional peasant-core (is this a term?) and more modern elements.

Anika Prins and Kerith Coulson’s set design is lovely and double-sided – this makes for easy, fast set changes. My favourite is the interior of Granny’s house: the details are just beautiful: summer hats hung on the wall, a little tea station etc.

Director Fae Wheeler, and assistant director, Savannah Steyn, must be commended on RED RIDING HOOD, which is a fantastic addition to the Masque’s ever growing pantomime-universe.

RED RIDING HOOD runs from 13 to 22 December 2024 and from 8 to 12 January 2025. Tickets start at R112.50 and are available via Quicket.

Performance dates are: 13, 14, 18, 19, 20 and 21 December at 19h30;

8, 9, 10 and 11 January 2025 at 19h30.

Matinees:

14, 15, 21 and 22 December at 14h30;

11 and 12 January 2025 at 19h30.

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