A treat for young and old: Northern Ballet’s Little Red Riding Hood

Linbury Theatre, Royal Ballet & Opera, London
October 24, 2025

The smiles start as soon as one sees Marjoke Henrich’s vividly coloured and charming set with its dolls’ house-like home for Little Red and family, and its forest of trees that look like they’ve been coloured in with children’s crayons. And they continue throughout Northern Ballet’s delightful telling of the familiar Little Red Riding Hood. With its subtle message of the value of kindness and friendship, it’s a version with a twist or two though.

Far from presenting the Big Bad Wolf everyone knows, choreographer Mariana Rodrigues gives us a character who’s just misunderstood, someone who wants to be liked but who has a bit of a reputation and who everyone is scared of. He is hungry, famished, in fact, but rather than Little Red and Grandma being on the menu, he’s more interested in cakes and honey. At heart, a sweet guy with a sweet tooth!

Danced by the tall Albert González Orts, he’s also rather smartly turned out in his tiny top hat (complete with pink feather) and embroidered purple morning coat over pink waistcoat and pinstripe trousers. And what looks for all the world like furry slippers on his feet.

Little Red Riding Hood opens with Julie Nunès as Little Red having tea with her parents and grandmother, who gives her a red cape that matches her red shoes. Bright and with a sunny smile, Nunès shows plenty of childish delight when she receives her new outfit.

A wonderful comic creation, Kaho Masumoto played Grandma perfectly. When she goes down with a head cold, she’s sent home and to bed, while Red decides to bake her a cake. Despite her parents’ warnings of the dangers, the sweet but sure youngster sets off, and sure enough meets Wolf, although immediately sees he’s no cunning predator but a bit of a softie.

With Little Red persuaded to pick some flowers for Grandma, Wolf takes the opportunity to slip into the latter’s house and search for food. Cue some very British humour as Grandma pops in and out of her bathroom, Wolf hiding under the bed and elsewhere, before slipping on the old lady’s nightdress and leaping into bed. The smart Little Red isn’t fooled though and, feeling sorry for him, feeds him.

It all ends with everyone friends and a knees up at a tea party when Masumoto’s Grandma shows just how sprightly and young at heart she is in her dance with the Wolf.

Of the other characters, Noah Benzie-Drayton was a cutely appealing Bear, trying to sell honey from a cart in the woods. The many youngsters in the audience loved his backscratching on a tree. Little Red’s parents were played by Alessia Petrosino, who also doubled as a fox in furs, and Stefano Varalta, who put in a brief appearance as a badger. The parents get the one really emotional moment in a brief pas de deux as they realise their daughter is growing up and, despite their fears, needs to be allowed some independence.

Rodrigues’ choreography is bright and easy on the eye throughout. With plenty of pointework for the female characters, it always advances the story, always emphasises the personalities of the characters.

Eloise Gynn’s lively score was beautifully played live by Toby Turton (cello), Joanne Rozario (clarinet) and Sarah Bull (flute), led and directed by Ewan Gilford on piano.

The many, many youngsters in the audience were rapt. There was no fidgeting and barely a sound as the ballet held their attention from start to finish.

Having previously been showcased on CBeebies, it’s great to have Little Red Riding Hood back live. It’s quite charming, perfect for young children, but a ballet their adults will love too.