Meow Meow’s The Red Shoes, at Merlyn Theatre, at Malthouse Theatre

Danish author and poet Hans Christian Anderson based the literary fairy tale The Red Shoes about a peasant girl named Karen on his loathed half-sister of that name.

The story, first published in an 1845 collection of his works, is that of a girl being forced to dance continually in red shoes.

The peasant girl’s mother dies when Karen is still very young.

Adopted by a rich, old lady, Karen grows up vain and spoilt.

Photos by Brett Boardman

Before her adoption, Karen had a less than perfectly made pair of red shoes. Once adopted, she implores her stepmother to buy her a pair fit for a princess.

Not one to pay heed to her stepmum’s advice, Karen doesn’t abide by the former’s call that it is inappropriate to wear red shoes in church.

With that, Karen meets a mysterious old soldier, who casts a spell over the shoes, which sees them take control of her feet.

Much grief for Karen follows, who chooses to not even attend her stepmother’s funeral, going to a dance instead.

Before the story is over, Karen has her feet chopped off … and still the shoes dance.

So it is that The Red Shoes is a cautionary tale.

Dare I say, the richly talented Meow Meow has thrown caution to wind in her blindingly artistic representation of Hans Christian Anderson’s work.

It is her third adaptation of his material.

First came The Little Match Girl in 2011 and then Little Mermaid in 2016.

Her “Red Shoes” is witty, wacky and wild, with powerhouse performances from her and fellow artiste Kanen Breen.

That starts from the opening scene, in which we see the three musicians that also feature in the work enter pushing three pianos onto the stage.

Then Meow Meow is dragged into view feet first. Talk about a grand entrance. NOT!

Her first musical number – beautiful, rich, rounded voice that she has – is performed on her back.

That is only after she has scootched across so her mouth lines up with a microphone that suddenly appears from above. Most amusing!

It sets the tone for the hilarity and hijinks that follow.

During the 90-minute show without interval, she warbles and talks on her knees, perched atop a piano and having climbed up a pile of garbage.

That leads me to praise the bizarre set. Stage left is the hoard of junk to which I have just referred, which includes an old fridge, used to dramatic effect.

It is the work of set and costume designer Dann Barber, who has a ball, as he does with the equally left of centre costuming.

Meow Meow hits like a tornado. Verbiage pours out of her. What we see is orchestrated nonsense, chaos and ad-libbing. And that unruly mop of hair. Oh my. I am jealous.

At one stage, she joins the audience, collecting handbags, clothing and, even, a walking aid, at will – after all, we are in a cost-of-living crisis! 

The operatic vocalisation of Kanen Breen is equally impressive, the pair making a heady combination, wielding their theatrical magic dust with power and gusto.

Also prominent is the trio of talented multi-instrumental musos, led by musical director and sound designer Jethro Woodward. The other two are Mark Jones and Dan Witton.

Director Kate Woodward professes that to enter into a creative process with Meow Meow is to set forth on a wonderous adventure. I never doubted it.

Frankly, you have no idea what to expect next and that sense of playfulness, intrigue and discovery gives this show so much bite.

Add a dose of moody lighting from Rachel Burke, stir liberally and you have a unique value proposition that is bold and dynamic.

Meow Meow’s The Red Shoes is on at Merlyn Theatre, at Malthouse Theatre, until 6^th December, 2025.