It is no small feat to extrapolate a children’s story into a theatre production. Limited by libretto, the symbolism can often extends to developing plot lines, characters, musical numbers and scores that can undermine the very fabulist line of the narrative.
Based on Anthony Drewe’s book, Composer George Stiles and lyricist Drewe’s The 3 little pigs: A Very Curly Musical Tale falls into the latter.
The narrative is propelled by Mother pig (Lizzie Bea) who sends the three pigs, Bar (Mark Anderson), Bee (Sam Toland) and Que (Daniel Buckly) on their path toward independence – only to find herself inveigled into the last standing little pigs’ home, singing the ‘3 little pigs ‘and mum’.
The pigs’ disparate personalities – jockish Bar, environmentally sound Bee, and bookish Que – add to their fraternal jostling. And articulated as ‘barbecue’ they play to the production’s heavily laden word play, a children’s theatre stalwart. Pig-headed, pig-in-the-middle, sweating like a pig, the dialogue swills around word associations while the narrative impetus suggests a family who ‘sticks’ together is able to overcome the threat beyond the window pane.
A rockabilly fifties rocker, with quiff wig and bike leathers, the Big Bad Wolf (Taofique Folarin) energises the stage with r&b numbers that speak his desire to eat the pigs. As the wolf, however, he is benign. He sings, ‘I’m not bad, just misunderstood’, and breaking the fourth wall, his presence in the audience is largely humorous.
The oversized pig costumes harness physical theatre, while the musical numbers draw applause from parental guardian and child alike, particularly as the three little pigs break from constructing their homes to join in and play rhythm with sticks.
Stiles and Drewe’s Disney-like recorded medley overture announces the play’s ready references to popular visual culture – advertising, television and cinema – marketed to children. (The English stage production included a host of reality TV stars.) Musical numbers lyrics draw on a record deal with ‘cows’ (referencing English ex-factor’s Simon Cowell), the hammie awards and Harry Trotter – references that are made buyout by the dialogue.
The fast food, X factor, selfie-generation references are largely played for laughs and inoffensive – Mother Pig takes a selfie with her pigs with an iPhone tripod. However, the whiff of the nastier side of a social media has its echoes. The idea of drawing the audience in to smelling out the pigs tilts towards public shaming that sits uncomfortably with such a young audience unfamiliar with ridicule.
The production suffers from its broad appeal to adult and child alike. In his final attempt to blow down the house of bricks, the Big Bad Wolf huffs and puffs, taking a beat to puff on a ventolin, unintelligible to the younger audience members. The play skips over single mother, low-income family issues as Mother Pig sings, ‘As a mother I deserve a cup, father got gobbled up, left alone with three little pigs’: her house is too small and she unable to keep up with feeding.
Rating: 2.5 stars out of 5
The 3 Little Pigs A Very Curly Musical Tale
Production: George Stiles and Anthony Drewe based on the book by Anthony Drewe
Kenny Wax Family Entertainment Production, UK
Book and Lyrics: Anthony Drewe
Direction: Lee Lewis and Sam Strong
Composer: George Stiles
Costumes: BB&J Costumes and Jane Temple
Design: Jason Denvir
Cast: Taofique Folarin, Mark Anderson, Sam Toland, Daniel Buckley, Lizzie Bea
Arts Centre Melbourne
