Red Riding Hood

St Cuthbert’s Amateur Dramatic Society brought Martyn Pugh’s Red Riding Hood to life with all the sparkle and mischief you would hope for in a festive pantomime. The familiar tale of Rosie’s journey through the woods was cleverly expanded, with the Big Bad Wolf and his cheeky son plotting mischief, Granny waiting in her cottage, and a whole host of nursery‑rhyme favourites popping up along the way. From Humpty Dumpty’s broken shell to Little Miss Muffett’s playful cameo, and the Three Little Pigs squabbling over straw, wood and bricks, the story unfolded as a patchwork of comic encounters and musical fun. It was a production that kept the audience guessing what surprise character might appear next, while never losing sight of the heart of the story: Red Riding Hood’s courage and the triumph of good humour over villainy.

Behind the scenes, the technical and creative teams deserve huge credit for shaping the show’s sparkle. Director Amber Gibson kept the pace brisk and playful, balancing traditional pantomime tropes with inventive staging. Musical Director Matthew Thomas ensured the company stayed perfectly in tune, with harmonies clear and confident across the ensemble, giving every number flair and energy. Choreography by Adelle Walmsley, supported by Janet Grime and Karen Clegg, was lively and inclusive, embracing performers of all ages. Routines to Lollipop, Born to Be Wild and Hungry Like the Wolf displayed the whole company, from seasoned performers to the youngest chorus members, and added vibrancy and humour throughout.

Sound and lighting, managed by David and Sam Clegg, were crisp, colourful, and perfectly timed. The cueing was spot‑on, from the telephone conversation at Granny’s house to the green washes that gave the Wolf’s scenes a sinister edge. Village scenes glowed with bright colour, while the UV sequence was a standout: the Big Bad Wolf cut‑out blew down the Three Pigs’ houses, with animated figures glowing brilliantly against the dark stage and the wolf’s sinister voice reverberating around the auditorium. It was inventive, visually striking and a highlight of the evening. Importantly, there were no mic drops or technical hitches; sound effects and amplification were clear and prompt throughout.

Set design gave us backcloths of the village, spooky forests and Granny’s house, complete with bed and wardrobe. Artwork by Emma and Stuart Boott and Shirley Speakman was vibrant and colourful, perfectly capturing the spirit of pantomime. Props by Marie Masters and Helen Clegg looked fantastic and were cleverly used for comic gags, especially the pig's carrying straw, wood, and bricks. Stage managers Denham Robinson and Alistair Crawford, supported by a large crew, ensured smooth transitions, while Karen Clegg managed the cast backstage with precision. Costumes overseen by Janet Grime and her team were colourful and characterful, with standout designs for the Wolves, the Dame and Granny. Makeup by Becky, Charlotte and Jess Waite, and Ebony King was bright, bold, and perfect for pantomime, with the Wolves’ faces particularly effective as they blended seamlessly into the hairline to meet their wolf ears. Even the front of house team joined in the fun, their faces painted with bright butterflies sparkling under the lights, creating a welcoming atmosphere before the curtain even rose.

With such strong foundations, the performers were able to shine. Jessica Coupe led the story confidently as Rosie, our Red Riding Hood. She looked striking in her iconic red cloak and carried the role with poise and charm, balancing innocence with determination. A highlight came when she launched into Better When I’m Dancing, joined by dancers in a lively routine that captured the spirit of the evening.

Tommy (Rosie’s buffoon of a brother) was played with warmth and comic energy by Adelle Walmsley; Tommy was the lovable fool of the piece. Quick with lines and full of friendly humour, she kept the audience engaged throughout. Her running gag, the cheeky “hands off my sack” joke, landed every time, and the crowd responded with repeated shout‑outs of “hiya Tommy” whenever she appeared. Walmsley’s timing and approachable charm made Tommy a crowd favourite, embodying the pantomime tradition of the comic sidekick while adding her own sparkle to the role.

Bonnie Toward gave us a wonderfully sinister Big Bad Wolf, leaning into her native Scottish accent to deliver menace laced with humour. Her vocals in Hungry Like the Wolf were fantastic, and the number cleverly involved younger cast members dressed as wolf cubs, who joined in with howls on cue. Tabitha Mossley as Little Wolf was hilarious, playing the role with cheeky teenage charm rather than menace. Her attempts to hide in Granny’s house, under a tiny coffee table, spreadeagled on the floor shouting “rug!” and finally donning a lampshade, had the audience roaring with laughter.

Martyn Pugh as Nurse Nelly Natter was fantastic, he combined sharp comic timing with a wonderfully exaggerated physicality, making every entrance feel like an event. His facial expressions alone could raise a laugh, punctuating the Woodcutter’s lines and drawing the audience into his mischief. The costumes were lavish and outrageous, each change more spectacular than the last, and he wore them with gleeful confidence. What made his Dame so effective was the balance between broad slapstick and sly asides, he could milk a gag with a raised eyebrow, then tumble into physical comedy without missing a beat. His Traitors-style entrance set the tone for a character who was both larger‑than‑life and deeply rooted in pantomime tradition. Throughout the evening, he worked the audience with ease, building a rapport that made them feel part of the joke. It was a performance that celebrated the Dame’s role as the comic anchor of the show, and Pugh delivered it with warmth, wit, and sheer theatrical joy.

Grandma, played by Tincie Hill, had the audience in stitches. Her unforgettable rendition of Born to Be Wild, complete with biker jacket and a glitter‑ball‑like helmet, was a showstopper. Her expressive reactions drew huge laughs, especially when the wolves stuffed a sock into her mouth. The Three Little Pigs, clad as builders Taylor, Barratt and Wimpy— Jane Cordingly, Linda Gregson, and Amber Gibson, were a comic delight. Their parody of Three Little Maids re‑imagined, into Three Little Pigs, delivered with tongue‑in‑cheek gusto, caused laughter throughout the auditorium.

Nicholas Davis gave us plenty of laughs in his dual role as narrator and woodcutter. He first appeared smartly dressed in an evening suit with a black wig, setting the scene with authority before finding out he was reading for the wrong panto, berating his agent for a dodgy gig he stormed off to laughter reappearing later in his woodcutter guise, plaid shirt, trousers with one leg rolled up, knee pads, crossed braces and a knotty wig tucked under his hat. The contrast between the two characters was comic, the narrator was well spoken whilst the woodcutter had an exaggerated northern accent with elongated pronunciation and Davis played the two with relish. At the beginning of Act Two, he strode on in full woodcutter costume instead of returning as the narrator, which quickly became a gag of its own. Whispers from off stage alerted him to the mistake, and then, in true pantomime fashion, a wig flew on to complete the joke. His mix of sharp delivery, physical humour, and willingness to play with mishaps made his performance one of the evening’s comic highlights.

Ellie Brindley as Little Miss Muffett brought charm and confidence, adding a whimsical touch to the pantomime. Jacob Hogg as Humpty Dumpty gave a humorous performance, first appearing in a broken shell before the Three Little Pigs cleverly “fixed” it later. Aidan Fitzpatrick popped up as the ghost in a classic pantomime scare scene, drawing shrieks and laughter in equal measure as children gleefully shouted warnings to the cast.

The junior and senior chorus were a joy throughout, their smiling faces and enthusiasm lighting up the stage. Whether ribbon‑dancing through the audience, joining in wolf‑cub howls, or filling the stage with bright ensemble routines, they brought vibrancy and inclusivity to every scene. Their commitment was clear, and they provided the backbone of the production.

The audience embraced the pantomime wholeheartedly, joining in songs, shouting warnings, and laughing at slapstick gags. St Cuthbert’s Amateur Dramatic Society delivered a spirited and heart‑warming pantomime, with fast‑paced direction, vibrant technical support, and the joyful inclusion of junior and senior chorus members, this production captured the essence of pantomime: tradition, laughter, and community. And finally, a big thank you to the front of house team and to Matthew Thomas for the warm hospitality throughout the evening. Their cheerful welcome and sparkling face painted butterflies set the tone for a night of festive fun, and it was clear that everyone involved, on stage and off, contributed to making Red Riding Hood a truly memorable pantomime, I look forward to many more productions from them in the future.

 

© NODA CIO. All rights reserved.