In The Media
Little Red Riding Hood Bares her Teeth in ‘The Cape as Red as Blood’ | Kingston Theatre Alliance
By: Alyce Soulodre
“This play shows that Red Riding Hood, and even remakes of Red Riding Hood, aren’t blasé or overdone. There’s still rich content to work out from the tale, especially with the added environmental message in this case. In particular, younger generations (hey, Gen Z) can adapt the story in innovative ways (with really catchy music), while using folk inspiration and traditional devices like puppetry. The show has overall feel-good vibes, and more than that, its innovation made me feel hopeful about the future in general (not an easy feat!).”
TK Fringe brings strong mélange of shows to Kingston | Intermission
By: Haley Sarfeld
“From a generation of students who cut their teeth amid a global pandemic and looming environmental catastrophe, The Cape As Red As Blood is both an outlet for despair and a call to rise from the ashes and take action for a world we love. I admire the show’s ability to show the deep rage that comes with being a woman in a misogynistic society without depicting violence against women outright — a deeply Gen Z sensibility, and one that makes it feel safe to sit in the shadows and open up to the story. Creepy, satisfyingly dense harmonies and energetic performances make the show worth attending a second time, and I truly can’t wait to watch it develop further in the coming years. If, from time to time, the team bites off more than they can chew, it’s a voracious, mouth-watering bite that leaves me eager to see them take the next one.”
Review: TK Fringe breaks fourth wall across the board | Kingston This Week
By: Skylar Soroka
“The highlight of the show for me was the blank white sheet hung centre-stage, which served as a point of the plot to always revert my eyes back to. It was also a canvas for shadow depictions of the story, bringing scenes to life, such as Little Red venturing into the woods or Crow marking their portrayal as the Big Bad Wolf.
Another key element was the symbolism of the wind, or nature, guiding the characters’ destinies. The wind pushes Little Red away from home and towards the village, emphasizing the theme of environmental preservation where tension of opposing views on deforestation take place. The difference between Crow, engulfed in a world of darkness, and Phoenix, painted with child-like wonder and naivety, champion a stark contrast adding depth to this classic folktale.”
‘Violets Bloom in April and Marigolds in Autumn’ reminded me of the times I sobbed on my bedroom floor | Queen’s Journal
The play incorporates LGBTQ+ love stories in a real and raw manner
By: Paige La Fraugh
“I walked into this show not knowing what to expect. I walked out with tears in my eyes and the cathartic feeling of getting to see myself represented on stage as a non-binary student.”
“Mevis delivered a performance that reminded me of nights spent sobbing on my bedroom floor and uprooted memories of the first time I fell in love with a woman and didn’t know how to act because I didn’t understand who I was.
Violets is a show that reflects real struggles—not what society thinks struggle looks like for Gen Z.
The acting in Violets was arguably some of the best acting I’ve seen at Queen’s. The discipline, mannerisms, and vulnerability of each character made it feel like these were real people on stage and not characters curated from Delamere’s mind.”