A Dark and Delicious Dive into Twisted Fairy Tales
Forget everything you know about fairy tales—Shake & Stir Theatre Co. has torn up the rulebook and stitched together a wildly entertaining patchwork of magic, mayhem, and mischief. GRIMM takes the tales you grew up with and warps them into an adults-only cabaret of dance, drag, comedy, and puppetry. Running at QPAC’s Cremorne Theatre as part of Brisbane Festival, this show is a no-holds-barred spectacle. If you’re expecting Disney princesses, think again. This pulls you into a world where Little Red Riding Hood drinks gin, Cinderella has no tongue, and the Big Bad Wolf would give Frank-N-Furter a run for his money.
The show opens with a bang—literally—as the cast breaks into a hypnotic rendition of Ramalama (Bang Bang). From that moment, the tone is set: this is going to be loud, lavish, and unapologetically weird. The set design, dubbed "The Witch's Tit," feels like a gothic fever dream, complete with a tilted piano, a staircase that leads nowhere, a creaky spinning wheel, and apples strewn everywhere (watch out—they might end up in your mouth). The entire set feels alive, each detail enhancing the eerie, haunted vibe.
We’re quickly introduced to the “rules” of fairy tales, but forget happily ever after—this is all about curses, betrayals, and blood. The cast of four—Aljin Abella, Nelle Lee, Brendan Maclean, and Angie Milliken—bring to life a menagerie of twisted characters, making it hard to believe there are only four actors on stage. The pace is fast and furious as they weave tales of Little Red, Cinderella, Rumpelstiltskin, Hansel and Gretel, Beauty and the Beast, the Big Bad Wolf, and more. It’s chaotic in the best possible way; like a mash-up of your favourite fairy tales reimagined by someone who watched too many horror films and SNL skits.
Nelle Lee, who portrays Little Red Riding Hood (as well as Beauty, Snow, and the fawn), deserves to be in the spotlight not only for her performance but also for her exceptional work in creating this adaptation. Her portrayal of the drunken, wisecracking Red is comedy gold, particularly when she’s high on shrooms and stumbling through the woods. Lee’s physical comedy and sharp timing are delightful, and her blood-red cloak is a thing of beauty.
Angie Milliken portrays Cinderella, as well as the Witch, Red's mother, Sleeping Beauty, and other characters. As Cindy, Milliken exudes a sense of purity and vulnerability. In contrast, her portrayal of the witch who eats children is chilling, as she delves into the darkest aspects of these stories with a mature presence that commands attention.
Brendan Maclean's performance as the Big Bad Wolf (along with Robber Bridegroom, Pied Piper, Rapunzel, and more) is unforgettable. Dripping with charisma, he is both predatory and fabulous, seductive and slinky. Maclean's interpretation of 'Hungry Eyes', delivered with a knowing wink to the audience, treads the delicate balance between threatening and mischievous.
Just when you think Maclean's Wolf might be the standout of the night, Aljin Abella swoops in as Rumpelstiltskin, and it's hard to put his performance into words. He blends creepy manipulation with rapid-fire dialogue, bleeped-out curses, and hysterical physical comedy. Yet it’s his portrayal of the Beast that truly showcases his versatility. Here, he embodies an awkward vulnerability and a desperate yearning for love, adding surprising emotional depth. His tender interaction with the delicate fawn puppet brings an unexpectedly poignant moment amidst the otherwise wild chaos. The emotional weight of this scene highlights the show's adept pacing, maintaining audience engagement without overwhelming them. It exemplifies how GRIMM manages to balances light and dark, humour and horror—after all, these are fairy tales that, at their core, were meant to teach us lessons about humanity.
The costume and makeup design by Paul McCann deserves its own standing ovation. From Cinderella’s eerie, silent figure in a golden gown to the Wolf’s over-the-top brocade ensemble, each costume is a visual feast that reflects the extravagance and darkness of this twisted fairy tale world. The makeup is equally stunning, with bold, rouged features that transform the actors into the wildest versions of these classic characters. The use of blackouts, vibrant lighting, haze, and audio gore amps up the suspense, particularly in the moments where we hear the Wolf devouring his prey.
The use of German language adds an authentic touch, paying homage to the original Grimm tales while keeping things fresh and playful. And the modern twists—Beauty with her LED mask, or EDM blasting during the chase scene—keep the show rooted in the present. At one point, the Beast scours the audience for a virgin's heart, only to be met with a knowing "good luck!" from a cheeky spectator. It’s moments like these that make GRIMM feel like a dynamic experience that could go anywhere at any time.
GRIMM reaches its heart-pounding finale with a countdown to midnight, featuring pyro effects and fast-paced dialogue that wraps up the twisted tales. Moral messages are flung at the audience as the cast defiantly proclaims, “F*ck fate!” A dance mash-up of 'I Love It' by Icona Pop and 'Hot To Go' by Chappell Roan, is the perfect, unapologetically rebellious ending to a show that refuses to play by the rules.
While GRIMM primarily delves into reimagining classic fairytales, it’s impossible to ignore the modern undertones running through the production. Cinderella, initially naïve and obedient, takes a tumultuous journey through the woods that serves as a powerful allegory for the often messy path we must navigate to find our voice in a world that expects women to be silent. Likewise, Little Red demonstrates toughness, resilience, and intelligence in standing up against male aggression. The Beast's vulnerability, concealed behind his brutish exterior, is a stark reminder of the emotional suppression society often demands of men. There’s also a delightful queerness to the whole production, particularly with Brendan Maclean’s take on the Big Bad Wolf, which subverts the predatory male archetype into a wonderfully queer representation.
What’s most impressive about GRIMM is its seamless blending of humour and horror. The innuendos and adult themes are cheeky, but never out of place. The audience is invited into the action—apples are fed, cast members make cheeky asides—but thankfully, no forced audience participation. This is 'Into the Woods' for adults—but bloodier and bawdier. If you missed it, too bad—it’s already sold out. But for those lucky enough to snag tickets, brace yourselves for a wickedly good time!
Comments