MIKE COWLEY relishes an exhibition that reminds us, in the teeth of establishment pushback, that lasting change always begins in workplaces, communities and the street
Latest editorial
Scouse Christmas cracker
SYLVIA HIKINS rejoices at the confounding of evil property developers in a subversive re-telling of the fairytale
From left Chantel Cole, Emma Grace Arends, Lindzi Germain, Lydia Rose Morales Scully, Adam McCoy, Liam Tobin, Andrew Schofield and Keddy Sutton in Scouse Red Riding Hood
[Atanas Paskalev] 
This show at the V&A is a rich, thought-provoking exhibition, if long overdue suggests
LAUDAN NOOSHIN
ED RAMPELL is disappointed by the confusing results of embedding cameras amid a Ukranian platoon
KEVIN BRYAN reviews Soul 66, Suzy Thompson, and Butterfield Blues Band
With reservations, RON JACOBS recommends a deep dive into the nature, history, and mindset of US intelligence
JOHN HAWKINS wrestles with the anti-humanist fantasies of techno-feudalist thinking
MICHAL BONCZA and MARIA DUARTE review 2000 Meters to Andriivka, Savages, The Legend of Ochi, and The Naked Gun
Scouse Red Riding Hood
Royal Court Theatre, Liverpool
MOST of us are familiar with Little Red Riding Hood, a fundamental piece of European children’s literature, and her encounter with a sly wolf.
As the curtains lift at Liverpool’s Royal Court Theatre, we discover our Scouse Red Riding Hood delivering a pan of cooked scouse and a loaf of bread to her nan who is bedridden with sciatica. It will soon be the first full moon of the year, a wolf moon.
Based in “Lidlpool,” taking a short cut through the trees, Little Red encounters two people, Cash and Carry, the wealthiest property developers in the whole of Lidlpool, who are on their way to grandma Riding Hood intent on making her move out of her cottage, which will enable them to redevelop the land into a car park, thus adding even more to their existing fortune.
Similar stories
As Liverpool lifted the title and Everton said goodbye to Goodison, Merseyside’s unity shone through in the face of tragedy, writes JAMES NALTON
MIK SABIERS enjoys the theatrical feminist six piece who have a lot of fun that the audience feeds off as the set rolls on
DAVID NICHOLSON is disappointed by a show that fails to engage its target audience
SYLVIA HIKINS relishes a brilliant untold Merseybeat story of how four talented women dared to break the mould