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RED

★★★★★

Chickenshed Theatre

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

Red

Red

Globaleyes

★★★★

Chickenshed Theatre Online

Globaleyes

Globaleyes

Chickenshed Theatre YouTube Channel

Reviewed – 25th September 2020

★★★★

 

“the whole piece is a show of inspiring collective effort”

 

Three panels hang above the stage projecting footage of the earth. Beneath them facts about the rainforest and overpopulation arrive on the back wall in orange and then disappear. One by one people begin to sing of “The Earth and I” as the stage brightens. Then it is all change. The warm reds and long notes transform into a blue stage which people speed across, an indication of the pace of the modern world. Bodies are packed together, moving herd-like.

This is the impactful opening of ‘Globaleyes’, a contemporary physical theatre work tackling the vast subject of globalisation. Across the course of the performance the dances focus on climate change, poverty, displacement, war and slave labour – hardly a small task. The show originated in 2002, and this recording, which Chickenshed are streaming in response to the impact of Covid-19 on theatres, is of the 2013 production. It features Chickenshed’s company members, 200 Chickenshed students and members of their adult theatre group in a refreshingly diverse ensemble of performers.

Globaleyes features a range of performance styles, some closer to dance, others more in the realm of physical theatre, some solo performances, some unison ensembles. This variety of styles, as directed by Christine Niering with Jonathan Morton and Louise Perry, shaped and defined each of the different themes. In a particularly strong number, two sets of two performers are tied together, turning each duet into many-limbed single beings which create spider-like shapes across the stage.

Changes in light and sound also dictated each new phase of the piece. Branches projected across hanging fabric (set construction by John Mann) are accompanied by incredibly tranquil music. Performers are turned into a homogenous silhouette by light. Sometimes music is interrupted by audio snippets from news reports and politicians speaking, including notably a speech that was made at Martin Luther King’s funeral. The hanging screens display a range of footage, historical and custom-made, to highlight the themes of each number. Both light design, sound design and music are vital to this piece, and Andrew Caddies (lighting design), Phil Haines (sound design) and Dave Carey (Musical Director) do a fantastic job of creating each new atmosphere.

Some of the scenes offer more impact and more clarity than others. Certain sections feel overly long without delving as deep as they could into the topic they are tackling. The challenges of creating a piece that has such a broad focus is apparent at times.

But from the creative team to the performers onstage, the whole piece is a show of inspiring collective effort. Watching this seven years on from when it was filmed, the continued resonance of the themes is clearly evident. The final message of Globaleyes is one of hope in the possibility of change and the power of community.

 

 

Reviewed by Amelia Brown

Photography by John Pridmore

 


Globaleyes

Chickenshed Theatre YouTube Channel

 

Last ten shows reviewed by Amelia:
Afterglow | ★★½ | Waterloo East Theatre | October 2019
Germ Free Adolescent | ★★★★ | The Bunker | October 2019
Before I Was A Bear | ★★★★★ | The Bunker | November 2019
I Will Still Be Whole (When You Rip Me In Half) | ★★★★ | The Bunker | November 2019
My White Best Friend And Even More Letters Best Left Unsaid | ★★★★ | The Bunker | November 2019
Potted Panto | ★★★★ | Southwark Playhouse | December 2019
The Girl With Glitter in Her Eye | ★★½ | The Bunker | January 2020
Essence | ★★½ | The Vaults | February 2020
Flights | ★★★½ | Omnibus Theatre | February 2020
Maliphantworks3 | ★★★★★ | The Coronet Theatre | February 2020

 

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