Well-loved nursery tales these days often morph into something unrecognisable, but this re-telling of the inquisitive little blondie finds a happy balance. There is sufficient embellishment in the additional personae of Puss in Boots and Humpty Dumpty to give a bit of a back story (our heroine, it is claimed, pushed one off the wall and nicked the other one’s boots), without sacrificing the essential familiar progression through chairs and porridge and beds. This is a good move as the audience is thoroughly engaged, relishing the minor embellishments as they come along. 

The most significant variation, and making full use of the extra characters mentioned above, is to have Goldilocks overhear the disconcerted Bears’ plan to catch the miscreant in the act, using that delicious porridge (here, strawberry tasting goo) as a lure. There is meant to be a sprinkle of stuff on it which will ensure that the thief is held to account by facing her most dreaded experience. More complications here though, as Papa Bear sneaks a mouthful himself, so that when the magic works, he, as well as Goldilocks, finds himself dancing – he swoopily lyrical and she the despised ballet – before the dance punishment escalates to include the chicken dance and a Highland fling.  

Goldilocks, you see is, an aspiring rebel, hell bent on adventure, not about to run away from tricky situations, so that here she does apologise for her greedy actions and makes amends by lulling Baby Bear – a squealing furry toy fellow – to sleep. This is achieved through some hip-hop chanting business with the audience, by now properly attuned, giving the stern chorus, “Baby Bear, go to sleep!”

Simple fun then, not too complex but with those lashings of song and dance which seem now to be an essential component of children’s entertainments.   

Director Elsie Edgerton-Till and cast have things well in hand. As Muma Bear and Puss in Boots, Lucy Porter is appropriately dashing and motherly in turn, while Rutene Spooner colours both his roles, Humpty Dumpty and Papa Bear, with charming humour and the valuable ability to connect with his young audience. Bianca Seinafo is a nimble Goldilocks who quickly wins us over and ensures genuine audience participation, so much a pleasure at these performances, but so often contrived and grudging in less capable hands.

That capability extends to the creative team. Richard van den Berg’s enforested set, Stella Garner’s vibrant costumes, lighting surprises from Paul Johnson, supportive music from Hamish Oliver and cleverly flown props from Anneke Bester (if we count beds and chairs), all round out a happy hour for small fry.

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