It’s also thanks to the music, which is a flexible, almost constant backdrop to the storytelling: it draws on Italian and Balkan folk melodies, not that it ever does so self-consciously enough for you to realise. That’s thanks partly to the delightful detail and wit of Samuel Wyer’s designs, especially the headpieces. There’s a homespun, travelling-players feel to the whole thing, a kind of knowing awkwardness, that makes it feel grounded and timeless. View image in fullscreen Delightful details. That’s where the Fairy – bearded, and twirling a beautiful pair of butterfly wings – reveals herself. A few magic beans later, she climbs Jack-like up the beanstalk, saves the day and finally gets to her gran’s house – where Tom Penn’s Wolf, a deliciously arch, castanet-playing baddie in almost pantomime mode, eats her. Staged at the Linbury theatre, with Little Bulb drawing on the creative resources of the Royal Opera, Wolf Witch Giant Fairy squishes three fairy stories together to make a gently subversive family show, infused with folk music, aimed at younger children but with a wry, ageless streak.Ĭlare Beresford’s plucky Little Red Riding Hood meets the Wolf on the way to her Grandmother’s house but then gets diverted she meets the witch Baba Yaga, escapes after a frantic chase, and is washed ashore at the village where the Giant has stolen the golden harp. That’s three fairy-tale villains, right there in the title of Little Bulb’s new show, when most storytellers make do with one, but the only greediness here is that of Little Red Riding Hood’s nemesis.
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