“Comedy is a language I love and one that seemed right for this iconic fairytale.” – Allison Gregory
As the kick-off to the 2022-2023 Theatre Lab season, the playwright Allison Gregory couldn’t be more dead on. When you think of the story of Red Riding Hood, the first thing that comes to mind isn’t typically a comedic whirlwind for all ages – but in this case, it was.
This funny and poignant adaptation of a very well-known fable brings us to the present, where the “Wolf” is an actor known as Wolfgang, and “Red Riding Hood” is a Delivery Person, simply trying to make a delivery when she gets sucked into (not really) performing the classic tale for an eager audience as they take on multiple characters again and again, back and forth.
With direction from Matt Stabile, and performances by an enchanting trio made up of actors Troy Davidson, Dayana Morales and multi-instrumentalist Paul Curtis, this possibly once overdone story, is brought back to life.
Despite it being geared towards children as the main audience, the playwright imbues all the colors of the comedic spectrum from slapstick to word play in order to welcome all ages into this playground of a play. Matt Stabile not only lets the text stand on its own, but he kicks it up a notch by using the actors’ full range of abilities in every bit, every joke, and every wink. It is a physically demanding show for the two actors and Mr.Stabile does not let it go to waste – but these two are more than up to the challenge.
Dayana Morales & Troy Davidson
As Delivery Person, Dayana Morales (an FAU undergrad student) gives us an energetic performance that never gives space for a lull, and in the best way possible it felt like I was a kid again watching my favorite cartoons bounce around the screen. She had moments of authenticity, strong physicality, on point comedic timing – and it was made all the better by the chemistry she shared with her on stage counterpart, Troy Davidson.
Like Dayana, Troy Davidson is a captivating one to watch in his portrayal of Wolfgang – along with the several other characters he dons for this production. His natural inviting charm makes us lean in from the get go, with each character switch he takes that innate ability and adapts it to fit the roles of grandma, the wolf, the woodcutter, red riding hood’s mother, and even little red herself.
Together, these two could rival the likes of Abbott and Costello, Laurel and Hardy, and for a modern reference – Jay and Silent Bob. But they aren’t the only ones on stage as they are accompanied by musician Paul Curtis, who in his own way is just as enticing, with music that creates the tone for the whole show. While he exists as another character, the personality he puts into the music gives us a 4th with each moment, each step, and each scene.
Troy Davidson, Dayana Morales, Paul Curtis
Now what I can’t forget to mention, is the seemingly simple and effortless light design by Thomas Shorrock, guiding us down the path all the way to grandmother’s house with the same kind of energy that the performers bring to the stage.
Right along with lights is the scenic design, bringing us back to the classic vaudevillian style with curtains, gilded arches, and lights coming up directly from the stage. All of this well-deserved fluff is to say – this was a great start to a sure to be exciting season at Theatre Lab.
In the end, this well-done adaptation takes the whole idea of a singular narrative, spins it on its head, and instead shows us how we can control our own stories in life; we are the writers of our own narrative.
Dayana Morales, Quail Puppet, Troy Davidson
