Interview: The Masque’s Red Riding Hood, dipping a classic fairy tale in glitter, setting it to a pop playlist everyone secretly sings in the shower

Each year, The Masque in Cape Town, stages a festive season fairy tale. Music is key to the fun productions, inviting audiences to sing along, to hit songs.  Red Riding Hood is on December 13 -22, 2024 and January 8-12, 2025. The musical directors are Claire Thomson and Linley Meavers. “This version of Red Riding Hood is like taking a classic fairy tale, dipping it in glitter and setting it to a pop playlist everyone secretly sings in the shower…it is equal parts satire and soul-searching. It’s like a fairy tale decided to swipe right on modern life, with a playlist that spans from heartfelt ballads to pop bangers,” reflects Meavers. “Musically, there are strong pop influences, with a splash of rock, and both old school and new school Disney.  We’ve selected a toe-tapping mix of songs that represent our rainbow of characters”, muses Thomson. Read on for more insights:

TheCapeRobyn: Red Riding Hood can be somewhat dark and menacing but it sounds like this version is hilarious and fun caper? Can you talk about the song list which you have selected?

Claire Thomson: Faeron [Wheeler – director and adaptor] loves turning fairy tales on their head, always adding a whacky or playful twist. I’ve been fortunate enough to be involved in three of The Masque’s fairy tales and I can say that Red Riding Hood will be just as full of quirky characters, cute “aww” moments and of course, a good-hearted moral. We’ve selected a toe-tapping mix of songs that represent our rainbow of characters, such as Thriller and Shiny Happy People, as well as songs that help progress the story and development of character relationships, like Colours of the Wind. This fairytale is also packed with action, giving you songs like Night Falls and Hit Me With Your Best Shot to relay the action in both impactful and hilarious ways.

Linley Meavers: This version of Red Riding Hood is like taking a classic fairy tale, dipping it in glitter, and setting it to a pop playlist everyone secretly sings in the shower. The songs serve as the heartbeat of the story, offering moments of hilarity, tension, and deep emotional connection.

Take Colours of the Wind, for instance—it’s not just the masterpiece from the movie Pocahontas but the heart-stopping moment when a villager first reconnects with nature. It’s so transformative you might catch the audience reaching for tissues (or at least their eco-friendly handkerchiefs). On the flip side, you have Call Me Maybe, where Prince Jeremiah’s cringe-worthy serenade leaves Red hilariously unimpressed. These musical choices add layers to the characters and bring an energetic modern twist to the tale.

TCR: How did you both, as musical directors, work with Faeron Wheeler, the writer and director, to compile the song list? Did she brief you as to songs that she wanted or did she leave it up to you? Are there cues in the script which feeds into songs?

CT: In the beginning, Faeron presented us with a script and a working list of songs she’d envisioned for each moment. Some songs were set-in-stone, while others were not quite right, or yet to be discovered. The five of us Linley and I as well as Faeron, Savannah Steyn (assistant director), Shaun Klaasen (choreographer) brainstormed to collate the perfect collection of songs to tell this fairytale. Many of these songs need no introduction, fitting seamlessly into the action, while some of our choices may pleasantly surprise you. And yes! You might guess a handful of songs if you pay attention to the dialogue.

LM: Faeron Wheeler is a genius at crafting narratives that tug at the heartstrings while keeping you laughing. She came to us with a treasure trove of iconic songs already mapped to key moments in the script. Our job was to fine-tune how these tracks would live and breathe within the show’s story.

For instance, she briefed us on pivotal scenes—like the reconciliation of wolves and villagers—so we knew a song like Under Pressure needed to feel raw yet hopeful. In some cases, the script even inspired tweaks to lyrics, seamlessly tying the songs into the storyline. It was a wonderfully collaborative process, and we were like musical archaeologists uncovering hidden emotional depths within these well-loved hits.

TCR: Are you using the lyrics of the songs or has Faeron added in lyrics which tie in with the story?

CT: As always, Faeron has cleverly adapted the songs to serve the story. However, we want our audience to air guitar in their seats and sing along, so we’ve kept edits to a must and have done our best to honour the original works.

LM: It’s a mix of both. Most songs stay true to their original lyrics because, let’s face it, why mess with perfection? But Faeron’s lyrical tweaks are pure gold where needed. For instance, during Call Me Maybe, Red cheekily fires back at Prince Jeremiah’s advances with the now iconic retort, “Hey, I just met you, and this is crazy!”—a sarcastic mic drop that perfectly captures her disdain. These small changes add just the right pinch of sass and plot relevance.

TCR: Are there back tracks? Is there a cappella singing? Rap? Cabaret? Discos? A mash up? Tell us about the style/influences of the musical presentation?

CT: Musically, there are strong pop influences, with a splash of rock, and both old school and new school Disney. The cast will be accompanied by backing tracks, bringing the music to life with magical harmonies.

LM: We’re serving up a smorgasbord of musical styles! The production uses professionally arranged backtracks, with added vocal harmonies and ensemble work that brings the cast’s unique talents to the forefront. Shiny Happy People gets a lush harmonic treatment, transforming it into a communal anthem of joy. Meanwhile, Under Pressure highlights vocal layering to amplify the tension and unity between characters. Every song is its own mini-genre adventure, yet they all harmonise perfectly to deliver the show’s message of connection and transformation.

TCR: Anything else to add about the vibe of Red Riding Hood and how the music heightens how you are turning the fairy tale on “its head”?

CT: In one of my stand-out moments, Colours of the Wind paints a new picture of “the big bad wolf”.

RRH uses contemporary music alongside a classic fairytale. Although the songs are familiar, and the story too, weaving them together creates a unique experience for the audience.

LM: This Red Riding Hood is equal parts satire and soul-searching. It’s like a fairy tale decided to swipe right on modern life, with a playlist that spans from heartfelt ballads to pop bangers. The villagers, glued to their cell phones, hilariously highlight their disconnect from nature—especially in Hit Me With Your Best Shot, where the line “notch in my lipstick case” is humorously updated to “notch in my iPhone case”. It’s these playful tweaks that keep the audience laughing while the story delivers a deeper, transformative message.

Musically, we take the audience on a journey from lush, classical arrangements to disco grooves and pop anthems, blending eras and styles to reflect the collision of two worlds: wolves and villagers. The vocal arrangements, especially for the ensemble, elevate each lead’s voice while adding emotional depth and playfulness. It’s a wild, joyous ride with a fresh perspective on an old favourite.

TCR: Can you talk about working in community theatre, your association with The Masque and can you tell us a bit about yourselves, whether you trained in music/theatre. What do you do for your day jobs?

CT:  I’ve been surrounded by music and dance my whole life, playing piano, joining school choirs, church bands and various dance schools from a young age. I studied to be a high school teacher and still consider returning, but after the pandemic I went into teaching ESL and have been doing so happily since. When I’m not teaching, I’m usually singing. I sing in a vocal quartet, Ruskin Road, a group of singers and friends which was founded as a happy consequence of performing at a Valentine’s Soiree at the Masque. I am also a member of the Vocal Unity choir, which tackles complex and beautiful arrangements, led by our choir director, Jeremy Quickfall. To me, there is nothing more magical than singing in harmony as one voice.

I first got involved at The Masque in the 2022 Fairy tale, Sleeping Beauty, then found myself coming back to The Masque year after year for Valentine’s Soirees and more Fairy tales. Contributing to the magic of community theatre is something that fills my soul. I’ve been fortunate to take on many roles both on and off stage at The Masque. I love being a part of the joy that theatre brings to the cast and audience, whether I am running rehearsals, singing solo, or sweeping the stage.

LM: Working in community theatre has been nothing short of beautiful. It’s about embracing each person’s unique abilities and weaving them into a cohesive tapestry. With The Masque, we’ve had the chance to assess individual musical strengths and tailor arrangements that not only fit their voices but also uplift the collective energy of the ensembles. It’s incredibly rewarding to see cast members grow, flourish, and step into their potential—whether it’s their first time on stage or their fiftieth.

As for me, I’ve been immersed in music for years. I started performing at 16, making it to the finals of a teen idols competition. After that, I managed and led a band for over a decade, gaining experience in musical direction and performance. I’ve trained at multiple vocal coaching schools, worked with some incredible choir masters, and currently perform with Ruskin Road, a vocal group where we reimagine well-known songs with our own arrangements. This foundation has shaped how I approach musical direction – not just as a task but as a way to guide people on their own artistic journey.

That said, it’s a challenge to take everything you’ve learned and pass it on in a way that resonates with others. My goal is always to meet each performer where they are, break down their understanding of music, and rebuild it with fresh insights. It’s about creating a collective that supports and strengthens each other, so the end result isn’t just a show but a shared transformation.

✳ Featured image: Qondèa Avril Mkansi Tithonia Roux who are performing in Red Riding Hood, December 13 -22, 2024 and January 8-12, 2025. Photo by Wesley Amos. Supplied.