Red – Scottish Opera Young Company

In this outstanding new adaptation of Grimm’s Fairy Tales, Scottish Opera’s Young Company take us on an epic journey through the archetypal stages of a woman’s life.

As Red, the wonderful Maria Wotherspoon embodies four incarnations of one woman, with references to her splendid red hair throughout. In Act One, she is Little Red Riding Hood, the ingenue. The vengeful wolf is played with a wicked pantomime grin by Luke Francis. There is no sturdy woodcutter to rescue our damsel in distress; from within the wolf’s digestive system, Red discovers that there is magic in her hair, and saves herself and her delightfully surly grandmother (Findlay Peters), beginning to own her power.

In Act Two, as Red Rapunzel, our heroine becomes a mother. She gives birth in a burning tower, flames red like her magical hair. In her third life, she capitalises on her beauty to become wealthy, but at what cost to her daughter? In her final persona, the red-haired crone takes shelter in a cottage, inhabited by Disney-style talking household objects. Finally, it is time for the next generation to walk this path.

The chorus work was excellent throughout. The company members create the backdrops and the characters using a vivid variety of movement, as well as moveable lamps that bring a further dynamic element.

There was strong use of colour throughout the show, across costume, set and lighting – as well as in the dialogue. There was a lot of red, naturally, and green provides contrast – representing the woods for example. This colour coding helped to pull the four stories together visually, and created the sense of another, enchanted world.

My favourite moments were those when the Mysterious Woman – played by El Rose – was on stage. She is often present and watching, and even in her quiet moments, she has astonishing stage presence. She moves with great deliberation and a compelling authority that is wonderful to behold, especially in such a young performer. She delivers potent, poetic narration directly to the audience.

This is where the beauty of librettist Jane Davidson’s words is most striking – full of subtlety and skill. If the libretto is ever published in book form, I will certainly buy it. I loved the use of language through alliteration and rhyme, and there are cultural references galore – far too many to take in over a single viewing. I enjoyed the references in the text to traditionally female fibre crafts – “Skeins of slow death, Strands of night”.

The score is varied and enjoyable, with references to traditional fairytale adaptations – at various moments I was reminded of Prokoviev’s Peter and the Wolf, and the Wicked Witch’s theme from the Wizard of Oz. Other musical traditions, such as rap, are present too. The young performers are dazzlingly skilled singers, and their dedication to their art was clear to see.

This was an immensely enjoyable production from the next generation of emerging opera performers. This experience has left me excited about the future of this art form in Scotland.

Reviewer: Wendy McEwan

Reviewed: 18th July 2024

North West End UK Rating: