Review: WOLF KINGS at The Chapel

With its large eyes and sharp teeth, the Big Bad Wolf is one of the most feared predatory creatures in fairytales. The threatening wolf preys on a sickly grandmother and her naive granddaughter. But what is the real relationship between Red Riding Hood and the wolf? Is Riding Hood as helpless and naive as the fairytale would have one believe, or is her red cloak a disguise for a young woman who is as cunning as her attacker? 

The 17th - 20th century writings of Angela Carter, Alphonse Daudet, Marie de Rabutin-Chantal Sevigne, and Benjamin Walker explore the relationship between the fictional canine predator and its prey. Inspired by these writings, Young Liars’ current production of WOLF KINGS takes a surrealist look at the relationship between Riding Hood and the wolf. 

Looking for an escape, five women come together for a weekly clandestine gathering of an avant-garde book club. The female characters in the theatrically experimental WOLF KINGS don tuxedo jackets to take on a more masculine appearance but remain purposefully androgynous. They admit a single gentleman friend to this week’s gathering as long as he agrees to a ceremonial emasculation through spirited song and dance. 

Throughout the evening the six friends play games, sing, dance, and discuss literary characters. They challenge the storytelling conventions of literature. On the surface it appears to be simple playful nonsense, but there is a heavy ominous presence hovering over the room.  

The animated performances of Ashwini Arora, Kay Ailee Bush, Maggie Conroy, Frankie Ferrari, Cassidy Flynn, and Keating make this production worth seeing. The actors clearly enjoy creating their extraordinarily aberrant characters. Their onstage fun and infectious portrayals command attention that stimulates audience curiosity.  

The energetic cast executes on Chuck Harper and Mikey Thomas’ kinetic blocking and choreography to create a lively immersive experience. The ensemble hurls themselves into both character and performance space. They remove covering from set pieces while disguising their femininity with costume designer Marcy Wiegert’s tailored menswear. Harper’s direction and sound design creates anxious tension with the entrance of the secretive, seductive, and furtive characters. 

WOLF KINGS is more performance art than a play. The snappy banter is often witty and funny. The vivacious movement is dance-like. There are elements that are peculiar, comedic, and dramatic. It condemns predatory behavior through spectacle by granting victims strength. Its thought-provoking message is cloaked and shrouded in unusual absurdity with a final scene that is oddly disconnected. WOLF KINGS will prompt both post-performance discussion and a bit of head scratching because its narrative gets messy and a little lost along the way. 

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