Theatre review: In Metro Theatre's Jack and the Beanstalk, topical themes punch up a lighthearted panto
Set to a soundtrack of Broadway showtunes and Christmas songs, production features a standout performance from Victor Hunter as grand dame
Metro Theatre’s Jack and the Beanstalk. Photo by Matt Reznek
Jack and the Beanstalk runs at the Metro Theatre to January 4
JACK AND THE BEANSTALK may never have been as clever and funny as it is right now at Metro Theatre. Known for its annual traditional British pantomimes—or “pantos”—Metro’s holiday offerings are celebrated for good reason. True to the style of the Brit tradition, the theatre company’s productions brim with silliness, fun song-and-dance numbers, and heartfelt messages. This year, its show adds an extra layer of punch with a timely, relatable story and musical moments that elevate it beyond mere laughter.
Written by Shel Piercy (who is also the director) and Jo Sears, this version of Jack and the Beanstalk is set in Beantown, where Mayor Misery P. Sonified (Julia Wong) has turned the town against giants, blaming them for all shortcomings. Her motto, the nod to Trump “Make Beantown Great Again”, comes with measures like tariffs on nearly everything and a Giant Security Tax (GST) that helps fund the law enforcement agency Frost, which constantly monitors villagers for ties to giants.
The outspoken Mother Flubber (Victor Hunter) challenges the mayor and decides to run against her in the upcoming election. To fund the campaign and support the family, she tasks her son Jack (Abigail Woodhouse) with selling the family cow, Clara. Along the way, Jack meets Bernie (Olivia Manojlovic), a Frost officer. While politically opposed, the two share a love for ice cream—which may be the catalyst for romantic sparks.
With at least one Ken Sim joke thrown in (doubling the barbs already happening at The Cultch’s annual panto), and a wink to Wicked (or The Wizard of Oz, depending on how you interpret it) in the second act, Piercy and Sears have done a great job of weaving pop culture and current and local events into their story.
Metro Theatre’s Jack and the Beanstalk. Photo by Matt Reznek
Despite its topical themes, there’s plenty of fun to go around. Woodhouse leads the way with her intelligent and confident Jack—a classic hero through and through. Manojlovic is a fantastic counterpart, and the pair have some tender moments together, including an adorable version of “Ice Cream” from She Loves Me. Woodhouse and Manojlovic also lead the ensemble in some delightful tap choreography by Shelley Stewart Hunt, performed with energy and polish by the cast, including Vada Collins and Simon Chung, who partner up as Jack’s cow, Clara.
As Mother Flubber, Hunter is an unabashed scene stealer. Embracing the role of the panto grand dame, Hunter milks every line and movement with comedic mastery, including delivering a series of bean-themed jokes that elicit both playful groans and laughter. A standout moment is Hunter’s toe-tapping, supercharged diva-level performance of “My Strongest Suit” from Aida, performed with a spirited ensemble who look like they couldn’t be having any more fun.
In customary panto fashion, there’s a Demon (Matt Ramer) and Good Fairy (Chris McBeath) who anchor the story, and at the top of the show they help the audience get warmed up by practising the excessive booing and cheering that is common at pantos. Thanks to costume designers Christina and Tami Sinosich, the devilishly entertaining Ramer is dressed as a Scarecrow (think a horror-movie version), and the poised and eloquently spoken McBeath is luminous with her lit-up wings and wand, not to mention a Christmas lights-adorned dress.
Set designer Starlynn Chen’s Beantown is comprised of cardboard-cutout-like buildings to establish an intentionally campy atmosphere. But Chen also adds a touch of beauty in the woods scenes, with a pretty foliage of leaves hanging down from above the stage, set against a radiant starlit sky.
The music selection consists decidedly of Broadway showtunes and Christmas songs, which fits the style of this show. Under the musical direction of Kate MacColl, the cast and three-person band sound tight together, with some stellar harmonies in the ensemble. One great musical moment is a powerful and uplifting performance of “Dance With You” from The Prom, led by Woodhouse and Manojlovic, which evokes a huge emotional response beyond the usual light-hearted panto fun.
By playing with a creative story and other unique choices, including its musical selections, Metro Theatre is proving that while its popular holiday panto endures, it is also evolving with the times to stay relevant, while providing a joyous and inclusive space for all. 
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