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Petite Rouge: A Cajun Red Riding Hood (NYMF) by Rob Lester EDGE New York City Contributor Saturday Sep 29, 2007 OK, maybe you’ve heard this one before ... there’s this little girl with a bright red hood and a not-so-bright way about the rule of not talking to strangers. She also has a sick grandmother who lives in a geographically-challenged area so making a delivery of comfort food by hand turns her into a basket case and...oh, pardonnez-moi? You think it’s the same old same old? No, not exactly. This is the sort of French version, thus the title Petite Rouge, meaning Little Red. French? Yes, this lively family-friendly travelogue takes place in the Creole land of New Orleans. The story is now seeped in local color (her color still being red, with some blues thrown in for good measure). And did I mention than in this version Little Red Riding Hood is, um, a duck? Yes, there are animal headpieces and the famous characters have reassigned species. You know, non-traditional casting. The big bad wolf you might be expecting is a crocodile but he’s still formidably sized and duplicitous and concerned with fine cuisine, in this case roast duckling a l’orange. Very professionally put together, there are some things that don’t land, like some physical humor (the children’s theater standby of two nervous companions looking out for the bad guy and bumping into each other back-to-back and being startled didn’t play). For some stretches, there’s a relentlessness to the keep-it-moving pace in some stretches lest the little ones in an natives become restless. Never a dull moment? It can get dull when there’s an overdose of cheer turned up on the high setting, with grating grinning. Some of the high-stepping, fast-moving dance feels frantic, but probably plays better on a big stage with the audience area bigger and further back. The small 45th Street Theater space is not that kind of setting. Still, there’s a lot to like here for the limited attention span crowd and all hands are on deck, working hard. For all the new and modern twists and references and Creole reupholstery of the story, this is at heart an old-fashioned, traditional children’s theater piece with a message and a heart. Petite Rouge is a plucky duck, full of spunk, optimism and eager for adventure. If it looks like a duck, if it walks like a duck, if it quacks like a duck, it must be a duck, but P.R. doesn’t waddle in ducky fashion and her fashionable garments are quite human: a dress with patches and of course this girl in the hood has that trademark crimson cape and she is no quacker. (And why is her mother wearing a crawfish head from the beginning when she’s called Mrs. Duck? No wonder Rouge has an identity crisis and acts so human. Singing with gusto as played by Felician Curry, she’s all bug-eyed and mouth agape at the wonders of the world. She’s ready to switch into celebratory mode at a moment’s notice or cut to the chase when being pursued by the most determined, flesh-craving croc since Captain Hook gave one a hand. As the devious and single-minded crocodile, Bobby Smith recreates a role he originated in the musical’s world premiere at Imagination Stage in Maryland in 2005. So as not to scare the kids in the crowd, he is wisely directed to be sneaky and snide and snickering rather than monstrous and mean and menacing. This actor has some good tricks up his acting sleeve: he’s the right man for the job, presenting humor and a slow-burning fuse of frustration and he keeps getting ever so close to his prey without coming in for the kill. He’s more instantly recognizable in a full body crocodile suit with tail and larger headpiece, though his slyness could make him part fox. Also returning to the production is the very able Tracy McMullan as the crawfish and mother of the title character, serving too as a member of the ensemble and bringing a strong trumpet of a singing voice. It’s immediately evident with the early number Straight Dere, Straight Back. The daughter and her traveling companion join in, but we know there’s a detour and trouble ahead. The companion is the better listener, a cat who also acts as a conscience and friend (sort of like Jiminy Cricket when Pinocchio didn’t listen to his elders). Billy Bustamante has the role and does very well with it; he has delightful energy, is sweet and open without being cloying. Would that his character had more moments to step out on his own rather than just joining in on group numbers and acting as the "I told you so" worry wart. Cyana Cook gets a neat comedy turn as clueless Granny but way before that makes an instant impression as a cheering presence with sunbeamy-bright energy as an ensemble member appearing during various stops along the journey with the crawfish and the frog (another returnee, the spunky L.C. Harden, Jr.). "Gonna spend your life going straight everywhere, letting everything pass you by?" asks one song lyric that encourages stopping for an adventure even while caution is presented as a good thing, too. Running into one of those unique New Orleans funeral procession is both intrinsically interesting for the travelers and also serves as a warning: the marchers are lamenting a late chipmunk whose photo is carried. According to reliable sources, he ended up as an easy mark for a hungry predator. (Watch out, Petite Rouge! That crocodile is not your friend, despite his cute apron with baby ducklings on it. The script makes a repeated point that the red riding hood is a metaphor for our little heroine being cloaked in her grandmother’s protective love, though a suit of armor might be more practical. That crocodile means business.) Speaking and singing in dialect as thick as the Louisiana swamp, and dropping local food references like Hansel and Gretel drop crumbs, the characters and writer never let us forget where we are. Act Two has a big scene at the Mardi Gras (who was that masked duck?) with The Beat Of Zydeco and the most exciting of the numbers, Let Yourself Go. Beads and feathers abound, and the colorful, swirling costumes here contrast nicely with some of the simpler, more subdued (but very effective) costumes. The costumes are the work of designer Reggie Ray. Script and songs are by Joan Cushing, who has been called "the most produced playwright in children’s theatre." This project is based on the children’s book by Mike Artell. Directed and choreographed by Michael J. Bobbitt, the production is energetic and efficient, with appealing and fun dance numbers that will keep young people’s attention. There is also some humor for the grown-ups but it’s better for kids than many adults not in touch with their inner Cajun child. Continues 9/29 at 4:30; 10/3 at 4:30; 10/4 at 1:00, 10/6 at 8:00. At the 45th Street Theatre, 354 W. 45 St. Part of NYMF. For tickets ($20), and info on this show and others in the festival which can be a basketful of goodies, go to www.nymf.org or call 212-352-3101 or at the box office if available (and feel free to talk to strangers). Rob Lester is a freelance writer living in New York City. He also the "Sound Advice" CD review column and other articles for www.TalkinBroadway.com, as well as pieces for www.CabaretExchange.com and is a judge for the annual Nightlife Awards. As far as music, he has a lifelong affection, collection and connection.