Imagine a beloved fairy tale hijacked by a highland cow – that's the audacious twist in this musical remake that flips the script on Jack and the Beanstalk! But don't let the familiar title fool you; this isn't your grandma's story. It's a bold takeover where Jack takes a backseat, and the farm animal steals the spotlight. Stick around to discover how this moo-ving musical reimagines a classic, and why it might just spark a debate on what makes a fable timeless.
Let's dive in: This production, penned by Jonathan O’Neill and Isaac Savage, transforms the whimsical fairy tale into a full-blown 'moooosical' extravaganza. Gone is the traditional panto vibe; instead, we've got a radical shift that relegates Jack to a supporting role. To put it accurately, it's more like Caroline and the Beanstalk, with Caroline – the stoic, ginger-haired highland cow – emerging as the true heroine. Adopted by Jack's family, she becomes the star of their ice-cream empire, churning out milk for the Glen and Sherry's brand. But when the business hits the skids, a handful of magic beans send her straight into the Happy Smiles Petting Zoo, where she's poked and prodded by invisible kids. Picture this: Caroline hatching a breakout plan alongside a chatty hen, a dramatic llama, and a clever pig, in a sequence that's pure Wallace and Gromit chaos with a side of farmyard fun.
After her escapades, she's home again, ready to wrangle the unreliable Jack (played by Ronan O’Hara) and tackle that pesky beanstalk. Directed by Stephen Whitson, the show bursts with energy thanks to a nimble cast of 10, plus the booming voice of Brian Cox bringing the giant to life (check out more on Brian Cox here: https://www.theguardian.com/culture/brian-cox). The choreography by Lisa Darnell is sharp and snappy, and the harmonies, guided by Savage's musical direction, are downright gorgeous. But here's where it gets controversial: This heavy focus on Caroline comes at a cost, diluting the story's original magic and archetypal power.
Forget the awe-inspiring wonders of a enchanted realm, the heart-pounding fear of a child navigating an adult world, or the epic clash between good and evil like David versus Goliath. Instead, we're treated to a fuzzy adventure centered on a determined cow, soured by cynicism – not just from Jack's mum Sherry (portrayed by Laura Lovemore, which makes sense), but from Jack himself, which feels off-kilter and unsettling. For beginners exploring fairy tale adaptations, think of it like this: Traditional stories often use magic and morality to teach lessons about courage and right versus wrong, but here, the narrative drifts from its core, relying on clunky dialogue that spells out 'learnings' rather than letting actions show them. It's as if the show is preaching instead of enchanting, and many songs end up stalling the plot rather than propelling it forward.
And this is the part most people miss: Despite the slowdowns, those tunes are a mixed bag of Americana flair – ranging from Broadway flair to vaudeville whimsy and even rap beats – that cleverly create an illusion of high stakes. Take Suzie McAdam's standout power ballad 'Udderly Alone', complete with a key change that hits you right in the feels. The whole thing feels lively on the surface, with plenty of showbiz pizzazz, but emotionally, it's floating in the clouds, lacking that deep connection.
*
Catch this at Dundee Rep (https://dundeerep.co.uk/events/jack-and-the-beanstalk) until 30 December.
What do you think – is dethroning Jack and crowning a cow a fresh take on a classic, or does it undermine the story's soul? Could this cynical twist be a clever commentary on modern society, or just a missed opportunity to preserve wonder? Share your thoughts in the comments – do you agree, disagree, or have a counterpoint? Let's discuss!
