Happy Go Lucky

Shoshinz—The Studio at Le Théâtre Cercle Molière

These whimsical, well-executed puppet vignettes are particularly relatable to those familiar with the norm-navigating societal expectations of femininity. The one-woman puppeteer from Japan highlights the juxtaposition of what a woman feels and what she ought to say to keep the peace, and be well liked, in her charming split-personality opening. She returns to this struggle when an internationally and timelessly famous Little Red Riding Hood literally reconstructs her personality to please the audience. While thematically linked, this delightful show comes to a rather abrupt end that might have been less evident in a more unified piece.

Ashley Frantik