THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Thursday, March 28, 1996 TAG: 9603260154
SECTION: NORFOLK COMPASS PAGE: 21 EDITION: FINAL
TYPE: Theater review
SOURCE: MONTAGUE GAMMON III
LENGTH: Medium: 72 lines
The Hurrah Players' version of ``Jack and the Beanstalk'' was graced with an upbeat tempo, a feel-good sound and songs that really could set the audience to humming the tunes on the way home.
Add the noteworthy performances that this production had, along with colorful design and clever dancing, and it made for a most enjoyable bit of light-hearted family entertainment.
Some of the humor was intelligent enough to give sophisticated adults unexpected chuckles, as witness the tune punningly titled ``Boilin' the Jack,'' or one delightfully absurd number with a vaudeville sound, ``A Boy's Best Friend Is His Cow.''
The whole production was dominated by an infectious cheerfulness, which more than anything else is the key to its value. Even the Giant, in Lucius Bennett's witty interpretation, was a rather happy-go-lucky sort of monster with a talent for jazz music and tap dancing.
The title role was taken by Tyler Marcum, who literally seems to light up the stage when he performs. His appeal comes not only from a winsome smile nor from the brightly wide-eyed joy he projects, but from the mature, sharp articulation evident throughout his singing, his dancing and his acting.
Another soloist worthy of special mention for comic ability, dance technique and singing is Karen Barba, who alternates the role of the Giant's Housekeeper with Ann Lambert.
A chorus of paramilitary guards in what the playbill terms Giantland kicked off the second act with a funny song and dance called the ``March of the Ill-Assorted Guards.''
There was also a green-clad, green-skinned character called the Bean Man, who narrated parts of the show and who sold Jack the famous magic beans. He's like one of those figures from ancient mythology, the spirits of the crops who promise renewal of life and hope.
Bennett's Giant gave the impression of being an ill-tempered Jimi Hendrix, but his menace proceeded more from low-keyed threats than from anything that sounded genuinely evil. He was even kind of fun.
Parents of thoughtful children might want to prepare answers for a couple of questions that this script will trigger.
The uncredited playwrights, who apparently first wrote the piece for television, added one subplot to the original story and inexplicably removed another.
There is now an evil baron, who like the villain of Victorian melodramas tries to force Jack's widowed mother into forfeiting all her property unless she consents to an unwelcome marriage with him.
Gone is the mention that the Giant had stolen gold, a magic harp and the goose that lays golden eggs from Jack's late father. In that version, Jack simply reclaims what is rightfully his.
If those riches should not be Jack's, then he becomes nothing more than a burglar. Even if he is rescuing his family from poverty and homelessness, he is still a thief when he makes off with the giant's property. Anyone who doesn't think that some young audience members will not pick up on that inconsistency has little experience with children.
Astute youngsters might also wonder why the Giant is destroyed while the Baron is treated more mercifully. The Giant is not only in the right, but when compared with the vicious, spiteful, joyless and notably ill-at-ease Baron, he is rather likable. The Giant's greatest crime seems to be that he is different.
Of course, none of these concerns is a reason to miss such an entertaining show, but one wishes again that authors of plays for children would put more thought into what they write.
Hugh Copeland directed and choreographed ``Jack and the Beanstalk,'' with musical direction by Polly Martin. The colorful costumes were designed by Lonna Trent. by CNB