The Scouse Jack and the Beanstalk review – perfect panto for tough times

Royal Court, Liverpool
Cow jokes are heavily milked in this family-friendly show, alongside nods to the city’s star turn as next year’s Eurovision host

Within weeks of the news that Liverpool would host the 2023 Eurovision song contest, the Royal Court had announced it would premiere Jonathan Harvey’s A Thong for Europe at the same time. It was a thrilling example of opportunistic programming and a clue that Kevin Fearon’s company knows its audience to a tee.

The Eurovision flag duly makes an appearance in The Scouse Jack and the Beanstalk when Jack (Michael Fletcher) finds himself with his head in the clouds after having scaled the beanstalk. Waving it above his head, he earns a cheer from the stalls and the admiration of Jill (Hayley Sheen), not to mention a romantic pun too terrible to repeat. Like his football team, Marine, Jack believes he can be a giant killer.

Before his starry transformation, he has appeared as a Scandie dropout in long hair and lederhosen, not so much lazy as stoned. His desperate plea of “gizza job” anticipates James Graham’s adaptation of Boys from the Blackstuff, another show from next season.

The topicality does not end there. Jack and the Beanstalk itself is the most timely panto to schedule during a cost-of-living crisis. Playing Jack’s mum, an irrepressible Lindzi Germain complains her house in Crosby Valley is freezing and that the only way to pay their bills is sell the cow (a sweetly downbeat Jake Abraham) and charm the mayor (a libidinous Liam Tobin).

Little does anyone realise the whole economic crisis has been brought about by a corrupt government commissioner, played by a comically stiff-limbed Andrew Schofield. In an inspired climax, the blame for his bad behaviour gets tangled up with Liverpool’s 2008 stint as European capital of culture and the visit of a French street theatre company. Naturally, the scene is resolved with a Kate Bush duet involving Cathy the Fairy (Keddy Sutton) and all pretence at political satire forgotten.

Written by Fearon and directed by Stephen Fletcher, the merry show wears the panto traditions lightly and keeps a check on the adults-only gags. Instead, it concentrates on well sung renditions of retro favourites, from Spandau Ballet to Grandmaster Flash, punchy performances and an udderly criminal number of cow jokes.

Contributor

Mark Fisher

The GuardianTramp

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