By James V. Ruocco
A fairy tale is a short story - suitable for adults and children alike - that features magic, enchantment, wonder, myth, folklore, happy endings and the presence of fairies or mythical beings alongside its popular human characters.
It also comes packaged with several key elements that make it truly magical.
a.) a hero, a heroine and a villain.
b.) a morality lesson.
c.) a warm, cozy setting.
d.) a conflict and resolution.
e.) a journey, a challenge, a quest, a celebration, a win.
f.) simple, inspirational language that all groups can understand.
One of the most popular - "Jack in the Beanstalk" - the latest in a series of youth-oriented productions to grace the Downtown Cabaret Theatre in Bridgeport - is a story worth telling.
It is fun. It is playful. It is exciting. It is enchanting. It is colorful.
It unfolds with a whizzbang of knockabout innuendo, song, merriment, dialogue and family-friendly giddyap - candy-coated to perfection to not only justify the beans, but clap and cheer its lifetime supply of ruse, skit, silliness, sparkle and inspiration.
It is stunning to look at.
It is cast brilliantly.
It is comforting and uplighting.
It is skittle and dash - and then some.
An English fairy tale that first appeared in 1734 as "The Story of Jack Spriggins and the Enchanted Bean" and later in 1807 as "The History of Jack and the Beanstalk," the story itself was rewritten in 1890 by Joseph Jacobs for his popular collection of children's stories titled "English Fairy Tales."
Here, a poor, young country boy named Jack sells his milky white cow for a handful of magic beans, which for fairy tale purposes, grow into a towering beanstalk high above the clouds.
Upon climbing the beanstalk, Jack finds himself standing tall in the castle of an unfriendly giant filled with a mountaintop of treasures which he steals - a bag of gold; a goose that lays golden eggs; a magical golden harp - to fund his struggling, penniless family.
He escapes. The giant goes berserk.
Jack chops down the beanstalk. The giant falls to his death.
And Jack and his family, not only prosper, but in true fairy tale tradition, they live happily ever after.
Phill Hill, the author of several successful DCT children's theatre productions - "Beauty and the Beast," "Cinderella," "Rapunzel," "Ugly Duckling," to name a few - finds plenty to write and laugh about with his engaging, flavorful retelling of the "Jack and the Beanstalk" story. Putting his own personal stamp on the much-loved fairy tale, he crafts a colorful, inventive musical, backed by a free-spirited energy and wit that lends itself nicely to the original source material.
This being a production solely designed for kids, the dialogue and story arcs unfold with a frenzied, understandable gallop of words and situations that any child could easily grasp without the aid of a quick recap from their parents, child-minders or uncles and aunts.
As storyteller, it's all inked and spliced with ease, charm, irony and engagement by Hill. And befitting the trademark British Panto of his mindset, this "Jack and the Beanstalk" breaks down the theatrical fourth wall for one-on-one interaction and commentary from everyone in the audience when the script dictates their involvement in the ongoing action, its stop-and-go silliness, its shout backs and its resolution. Hill also leaves room for some slight improvisation (actor vs. audience) within the framework of the story, which, depending on the chatter and response, differs from performance to performance.
Staging "Jack and the Beanstalk" for Downtown Cabaret Theatre, Ashley Depascale, who also appears in the production as Maribelle, works effortlessly within the parameters of musical panto staging to make the most out of Hill's storytelling, the musical exchanges, the ad-libbing, the audience interaction and the jokes and interplay aimed primarily at the children in the theater. It's all make do with fun and startling ease, offset by playful musical-hall style choreography by Cassie Peterpaul and musical director Aron Smith's easy glide and pull of the show's neatly incorporated pop tunes, all of which heighten the "Jack and the Beanstalk" experience.
Sean Davis, last seen as Mark Cohen in DCT's critically acclaimed 2022 production of Jonathan Larsen's iconic musical "Rent" is the ideal candidate to play the pivotal role of Jack. He's assured. He's committed. He's charming. He's animated. He's panto-ready. He also has a Disney plus quality about him (perfect for this sort of entertainment) that he uses to full advantage while tackling the many dilemmas and surprises of the "Beanstalk" story.
The Baron, wonderfully portrayed by Andrea Pane, is an intoxicating mix of vaudevillian mock, delight and sneer that the actor plays to the hilt, going from nasty to nice and back again, using a dastardly smarmy voice that commands your attention every time he's on stage. Pane, who portrayed Roger in last year's "Rent," also directed the iconic musical at DCT.
In a role of Jack's Mother's, Corinne Marshall preens, reels, spins and twirls in a laugh-out-loud comedic role that she pulls off with punch-thrill-drive-and-shake at every single comic turn. She also stops the show with a 5-STAR rendition of a Grammy award-winning song recreated for a "Record of the Year" win by a much-loved, fallen diva and recording artist.
Ashley Depascale, as the blonde, materialistic daughter of the Baron, crafts an astonishingly creative leading-lady turn embraced and coated with particular sweetness, optimism and zest in accordance with the fairy tale playbook. In the dual roles of Jill and Nimbus, Carly Jurman (choreographer for "Rent" at DCT), offers two decidedly different character turns of contrast and brightness that lead to a charismatic double act for both actress and audience. Lisa DeAngelis, as Luna and Alta, adds potent personal element to both her characterizations and has fabulous fun doing do.
PS: There's also a dancing cow named Pat that charms and cajoles the audience - much to everyone's delight - every time she's on stage. Plus, an exceptional DCT design team headed by Tamar Klausner (set design), Axel Hammerman (lighting design) and Lesley Neilson-Bowman (costume design).
In the weeks ahead: "Decades in Concert: The 1980s "(March 10-April 8), "Wizard of Oz" (April 8-May 21) and "Cabaret" April 21-May 21)
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