Rating: 3 out of 5.
Specially created for the Scottish Opera’s Young Company, Karen MacIver And Jane Davidson MBE‘s fairytale mashup RED follows the style of a woman with red hair (soprano Maria Wotherspoon) journey from rejected youth to cast aside old woman.
It is a story told in four episodes, reflecting its origins in four standalone pieces written for Young Company workshops. The opening ode to ‘Little Red Riding Hood’, complete with cute fox puppetry and a gluttonous Wolf (Lucas Franciscus), sits somewhere between Roald Dahl’s Matilda and Into the Woods. The next riffs on Rapunzel does so by way of a ‘Towering Inferno’, while the third echoes Snow White through a ‘The Devil Wears Prada’ lens. The fourth and final act mixes Hansel and Gretel with the Snow Queen embodied by James Kennedys Liberace-lite turn as the Ice WitchThematically it is coherent, the seams double stitched by the choir as Mysterious woman played by a charismatic The Rose.
Musically, MacIver’s score is akin to Sondheim as interpreted by Jethro Tull, and very enjoyable, if not memorable. The ensemble numbers are particularly strong, and only get better as Red travels further. The opera’s progressive sensibilities embrace a touch of atonality, but balance this with hints of vaudeville, and even barber shop. In fact, I was sure I detected traces of Ron Grainger’s theme for ‘Tales of the Unexpected’ at one point. The young cast seizes their roles well, listening clearly to each other and adapting their performances to compliment their partners. Bravo also to the tight and adaptable ensemble under Chris Gray everything accompanying.
“The young cast play their roles well, listen clearly to each other and adapt their delivery to compliment their partners.”
Director Flora Emily Thomson does well to maintain the flow of the production, giving the lead actors room to shine without too much room to show off. The plot, while sometimes bizarre, is always clear, and the blocking and movement of the fairly large cast is incredibly clean.
In terms of design Red looks good, Finlay McLay’s set overlooked by two towering red staircases, and populated by a forest of standard lamps on wheels. It’s a lush, if minimalist, setting for Red’s various adventures and misadventures, and the cast has a lot of fun with it. Expect a magical battle brought to life by cleverly choreographed color-changing lights.
Lucas Franciscus like a big green wolf @ Kirsty Anderson
The Rose like a Mysterious woman @Kirsty Anderson
Helena Engebretsen, Maria Wotherspoon and Ilona Sofia Năstase @ Kirsty Anderson
The lack of traditional arias makes it difficult to lay the vocal laurels on one set of feet. Guest Tenor Connor James Smith certainly brought mature strength to his fateful Danny the firefighter, but was only central to one scene. Wotherspoon certainly fulfills her duties as leading actress well and knows how to hit the required notes, while Rose shows promising clarity in delivery and diction.
“But brava and bravo to all the young talents involved in this confident and self-assured premiere of a new and challenging work.”
Overall, I thought Red was the start of something that the Traverse Theatre could have booked in its 1980s glory days in the Grassmarket. It has a subversive, experimental edge, but, unusually, could benefit from a bit more mystery. The first act in particular has a gentle brutality that could be woven through the other three acts. I also suspect that some stronger motifs for our leads might make the music itself a bit more memorable. Modern composers, particularly in the opera world, tend to shy away from the catchy, but I sensed promise in my tapping toes at several points.
But brava and bravo to all the young talents involved in this sure and confident premiere of a new and challenging work. It is consistently enjoyable, really very funny and makes its point about women’s lives abundantly clear.
Main image: (Kirsty Andersen)
Show details
Location: Scottish Opera Production Studios, Glasgow
Data: July 18, 19 and 20, 2024, 7:15 PM, July 21, 3:00 PM
Recognition: €15
Performance times:
- July 18, 19 and 20, 2024, 7:15 PM
- July 21st 3:00 PM
Recommended age: Parental judgment
Playing time: 1 hour 10 minutes (no intermission)
Accessibility
- Wheelchair accessible location
- Wheelchair accessible toilet
- Audio enhancement system
