Review: THE DANGEROUS CHRISTMAS OF RED RIDING HOOD at FMCT / The Hjemkomst Center

FMCT’s The Dangerous Christmas of Red Riding Hood is a whimsical, heartwarming, and joyfully mischievous holiday musical that spins the classic fairy tale on its head. Originally written by Frank Loesser with a book by Lynn Ahrens, The Dangerous Christmas of Red Riding Hood is a clever, subversive twist on the classic fairy tale, first introduced to audiences as a 1964 television musical starring a young Liza Minnelli. Rather than presenting a straightforward retelling, the show explores the idea that every story has multiple sides, and that even familiar characters may not be exactly who we think they are. With a jazzy score, witty lyrics, and a narrator who challenges the audience to reconsider the tale, the musical blends humor, heart, and holiday spirit while asking timeless questions about trust, perception, and growing up.

Alice Vogel leads the cast as Red Riding Hood (Lillian) with charm, warmth, and vocal confidence. Her performance of “Red Riding Hood” immediately establishes the character’s innocence and curiosity, while “I’m Naive” becomes a standout moment of self-reflection, marking an important turning point in Red’s journey. Vogel’s ability to balance youthful sincerity with growing awareness anchors the emotional arc of the show.

Opposite her, Luke Geiser brings depth and personality to Lone T. Wolf, crafting a character who is far more complex than his fairy-tale reputation suggests. His performances of “Woodmen’s Theme” and “I’m Naive (Reprise)” add layers of humor and humanity, making Lone T. Wolf an unexpectedly sympathetic and engaging presence. Geiser’s chemistry with Vogel is especially evident in their playful duet “Ding-A-Ling,” one of the production’s most memorable musical moments.

As The Woodsman, Jared Zaun provides a grounded and steady presence. His solos “Along the Way” and “Woodman’s Serenade” offer moments of sincerity and reflection, giving the audience space to breathe while reinforcing the show’s themes of responsibility and moral choice.

Meanwhile, The Wolfpack, portrayed with lively spirit by Tully Haynsworth (Lancelot), Sami Jama (Sam), Spheria Shores (Galahad), and Sara Utley (Percival), delivered rousing energy in “Snubbed,” “Snubbed Reprise,” and “We’re Gonna Howl Tonight.” Their tight harmonies, expressive movement, and comedic timing infused the stage with frenetic, charismatic energy that kept the audience smiling and tapping their toes.

One of the most delightful surprises of the production is Harper Dittemore as The Ballerina Mouse. Despite having no spoken dialogue, Dittemore’s performance was consistently expressive and purposeful. Through movement, presence, and impeccable timing, the Ballerina Mouse became an essential storytelling element, guiding the audience emotionally and adding a layer of whimsy and heart that elevated every scene in which she appeared. It was a wonderful reminder of how powerful nonverbal storytelling can be.

Beyond the principal roles, the full cast and ensemble played a vital role in bringing The Dangerous Christmas of Red Riding Hood to life. Whether portraying townsfolk, woodland characters, or storybook figures who weave in and out of the narrative, the ensemble added texture, humor, and momentum throughout the production. Their collective presence helped shape the world of the story, supporting key moments like “I’m Naive,” where Red’s journey of self-awareness is reflected not just in her performance but in how the world around her responds. The ensemble’s strong vocal work, character commitment, and physical storytelling reinforced the show’s themes and ensured that the stage always felt alive and connected.

Behind the scenes, the creative team provided a strong foundation that allowed the story and performances to shine. Director and Lighting Designer Judy Lewis guided the production with a clear sense of tone and pacing, using lighting to enhance both the show’s playful whimsy and its more reflective moments. Choreographer Patrick Kasper infused the production with energetic and character-driven movement, particularly in the ensemble numbers, giving the Wolfpack and townsfolk a distinctive physical identity. The visual world of the show was further enhanced by Gina Bar-El’s imaginative costume design, which captured the fairy-tale spirit while clearly defining each character, and Rick Lewis’s scenic design, which created a flexible, storybook environment that supported the action without overwhelming it.

Fargo Awards - Live Stats

Best Musical - Top 3

1. AMERICAN IDIOT (Stage West)

25.8% of votes

2. NEWSIES (Stage West)

18.5% of votes

3. CARRIE: THE MUSICAL (Fargo-Moorhead Community Theatre)

15.1% of votes

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