RED

Chickenshed Theatre

★★★★★

“fills the audience with joy, curiosity, and genuine wonder”

Red reimagines the familiar tale of Little Red Riding Hood, inviting us to dig deeper into the grey areas between villain and hero. Supported by the passion of over 200 performers, this vast, ambitious musical adaptation redefines the story as an exploration of identity, perception, and the courage it takes to truly see beyond the obvious.

Directed by Michael Bossisse, Bethany Hamlin, Cara McInanny and Jonny Morton, Red becomes a vibrant quest of self-discovery: a teenage girl, angry at the world yet unknowingly supported by it, embarks on an unexpected journey with her siblings. Along the way she learns that ancient myths may hold more truth – and more lessons – than she ever imagined.

The writers, Dave Carey, Ashley Driver and Sebastian Ross, deliver a wholehearted, humorous script that bursts with emotional truth and fills the audience with joy, curiosity, and genuine wonder. This is a grand, communal celebration of what it means to be together, to be different, and to belong.

From the moment the show begins, the stage welcomes us into an inclusive performance world, with main characters and actors interpreting in sign language. What initially appears to be a simple set reveals itself as a transformative marvel: first a train, then a bustling village, then elegant dining halls and winding pathways. Andrew Caddies’ combined set and lighting design is magical – producing images that feel both fairytale and otherworldly. The stage doesn’t just change, it “shape-shifts”.

Emma Gale’s beautifully crafted costumes carry us seamlessly between these worlds. Despite the rapid pace of the show, transitions appear effortless; the costumes seem to breathe with the story, adapting to every shift in tone and place.

In every scene, we witness breathtaking ensemble dance and movement pieces. Everywhere you look, there is another story unfolding, another set of eyes drawing you deeper into the world. How many people can you fit on a stage dancing? At Chickenshed, the answer is always: more. And the more there are, the more astonishing it becomes. Yet above all the spectacle, the most exceptional moment of the production is witnessing the entire ensemble becoming one moving body – a single organism pulsing with unity, purpose and heart. When the ensemble moves, the whole theatre breathes with it.

The production features a fully original score, performed live onstage. Under the musical direction of Dave Carey and Phil Haines, the music becomes the heartbeat of the show – magical, lyrical, and deeply connected to everyday life with multiple genres. Each song fits into the narrative like a perfect piece of Lego, building the world one note at a time.

The cast’s energy is boundless. Every performer, from lead to ensemble, gives everything – hearts open, souls shining, ready to perform not just for the audience at Chickenshed, but for the world.

While it’s impossible to single out only a few, standouts include Grandma (Cara McInanny) with her unhinged, fearless commitment; the Wolf (Michael Bossisse), whose warm and effortless acting brings new layers to the iconic figure; Chester the Butler (Sebastian Ross), who charms with perfect comedic timing; and one of the signers, Mouse O’Hehir, whose quirky, magnetic presence and beautiful movement add a captivating extra dimension.

Red holds you from start to finish. It’s a story about the power of unity, the search for authenticity, and the way we discover ourselves through the support of others. Lush with imagery, bursting with imagination, energy and heart – it’s a must-see show made by many, for many, and about all of “us”.

RED

Chickenshed Theatre

Reviewed on 27th November 2025

by Nasia Ntalla

Photography by Mark Field

Previously reviewed by Nasia:

MAYBE I SHOULD STOP | ★★★★ | DRAYTON ARMS | November 2025

DEATH BELLES | ★★★½ | OLD RED LION THEATRE | October 2025

Red

★★★

“McGuirk gives a delightful performance, drawing the audience in with her bold and bubbly characterisation”

Single narrative performances are a theatrical style whose popularity has fluctuated over the years, even though it has maintained an underground following. However, recently, there does seem to be a resurgence of theatres within the capital that are allocating more space within their programme to showcase this art form. Whether it is in the shape of a poetry slam, a spoken word night, or a solo performance event, the singular voice is taking centre stage once more. North London’s Chickenshed Theatre is one such place that has jumped on the bandwagon. Their new production, Monolog, is a celebration of the lone voice, and the vast, diverse approaches in which it can be heard.

In an intimate and relaxed setting, four, non-linking monologues that include new writing as well as the work of established writers are given exposure, delivered with vitality and enthusiasm. Opening with Her Big Chance by Alan Bennett, Belinda McGuirk presents the piece from what is probably the most recognisable collection of dramatic monologues, Talking Heads. Julie Walters had originally played the part of starry-eyed actress, Lesley, for the small screen, but here, McGuirk gives a delightful performance, drawing the audience in with her bold and bubbly characterisation. The monologue does seem dated now, with its references and the character’s moral naivety, though still topical in light of the recent uncoverings of sexual abuse and harassment cases within the film industry.

A newly commissioned autobiographical piece, This Is Me, by Diane Samuels (best known for her play Kindertransport) is the second offering. The performance is a snapshot of memories of her life with alternating performances by either Belinda McGuirk as the older Diane, or Lucy Mae Beacock as the younger, depending on which performance you see. I saw the younger self, sweetly portrayed by Beacock using an unconventional method of audience participation to reveal the next vignette of her early life, gradually building the bigger picture of who she is. Beacock gives a confident and assured performance as the young Diane, but the content is rather underwhelming.

The most thrilling contributions to the show are the two monologues from the ‘New Writing’ selection, which have a fresh and vibrant voice. A total of six have been written by various affiliates of the Chickenshed community, rotating between which are presented. Last Piece of the Sun, collaboratively devised by Alesha Bhakoo, Dave Carey and Milly Rolle, follows the heart-breaking consequences of a one-night stand, which Bhakoo performs with real believability. Whilst, the kooky, I Find Love In A Bin (In Waterloo Station) by Peter Dowse, is wonderfully brought to life by Sarah Connelly, who imaginatively uses the abstract imagery to her advantage.

This showcase of work is a pleasant reminder of how important the monologue is to the arts, and the power in which in can behold in telling a narrative. Moving through varying emotions and periods of time Monolog demonstrates how far the form has come along, whilst contemplating how much wider its parameters could be pushed in the future.

Reviewed by Phoebe Cole

Photography by Daniel Beacock

Tag Archives: Lucy Mae Beacock

RED

★★★★★

Chickenshed Theatre

RED

Chickenshed Theatre

★★★★★

“fills the audience with joy, curiosity, and genuine wonder”