Jo Forgie, Mindy Duncan, and Kaden Schmidt in The Stinky Cheese Man & Other Fairly Stupid Tales
The children’s book The Stinky Cheese Man & Other Fairly Stupid Tales, by John Scieszka and Lane Smith, was one of those rare literary phenomena that seemed to be everywhere when it was released. I remember very clearly when it was brand new; it was so popular that there were even waiting lists at the school library for the honor of taking it home. John Glore’s theatrical adaptation preserves the witty, slightly dark sensibility that made the book so beloved by youth and adults alike, and as directed by Jennifer Hoeper, the Playcrafters Barn Theatre's presentation combines adults and children to bring these fractured fairy tales to life.
If you haven’t read the book, Glore’s script follows it fairly closely, retelling familiar fairy tales with unexpected twists and adding musical elements along the way. I wouldn’t go so far as to call the production an “original” musical, however, given that most of the songs simply set new lyrics to familiar tunes. The “Hallelujah Chorus,” for example, becomes the aptly named “Opening Song.” There is plenty of familiarity throughout the script, blended favorably with the unexpected. Even the pre-show announcements leaned into the production's snarky sense of humor, as we were all warned to keep our electronic devices turned off. (Why this remains such a challenge, I’ve no idea. Yet somehow, I still spotted plenty of glowing screens throughout Friday's audience.)
While you might assume the titular Stinky Cheese Man (an energetic Tim Burrow) is the show’s main character, you would be mistaken. That role clearly belongs to the narrator Jack, who is adeptly played by young Whitney Brown. Brown was easy to hear, fully understood the absurdity unfolding around her, and had the good sense to remain grounded amidst the chaos, which only made everything funnier. She kept the show moving at a brisk pace and served as an effective guide through the storybook madness.
From the moment audiences enter the Barn, set designer Elle Winchester’s whimsical creation makes a strong impression. Oversize books arranged throughout the space immediately transported me back to the elementary-school library and its endless shelves of stories waiting to be discovered. The highlight comes when Brown opens the largest book to reveal its title page, a delightful moment that truly allows the set itself to come alive. I was somewhat puzzled, however, that we remained on that single page until the finale. Then again, given the sheer number of stories being told, practicality likely won out over variety.
The whimsy extends beyond the scenic design. Costume designer Kathy Graham also brings considerable creativity to Hoeper's production, particularly in her fairytale creatures. The cows are perhaps the best example of her playful approach. Dressing a cast of 25 performers ranging from small children to adults is no small feat, and Graham succeeds in making each character immediately recognizable while still maintaining a stylized storybook aesthetic.
I appreciated how Hoeper always kept us guessing about where the action would arrive; I don’t think there was an entry point that went unused. Given the number of young performers and the challenges of filling a space as large as the Barn, there were, naturally, a few moments in which volume and diction made dialogue difficult to discern. One sweet young performer, the adorable Lorcan Oles, repeatedly ran on and off stage shouting a short phrase that I couldn’t quite make out. It took a combination of context clues – such as him being listed first in the program – and one of the titles on Winchester’s oversize books for me to realize he was saying “cow patty.” It’s a joke that takes a very long time to pay off, but rest assured, this production eventually gets there in a big way.
Meanwhile, though many of the stories receive charming adaptations, one segment that has not aged particularly well is “The Ugly Duckling.” As the entire cast, children and adults alike, surrounded Reina Ramos-Paulson’s duckling and mocked her appearance through song, I found myself cringing. With no meaningful redemptive arc attached to the joke, the humor feels more uncomfortable than clever. Perhaps this is one of those moments best left in the '90s, where it originated. Since Playcrafters' latest is clearly intended for young audiences, I would hope any responsible adult follows up the “Ugly Duckling” segment with a conversation about why cruelty should never be treated as a punchline.
Some questionable content aside, there were plenty of moments that clearly delighted the audience, such as Jack naming a fellow patron “Melvin” and then referring back to him for much of the evening. Later, Maisie Jacobsen’s Foxy Loxy invited children onstage and showed admirable poise when the first child she selected turned her down flat. Jacobsen rolled with the unexpected rejection beautifully, turning it into one of the more memorable moments of the entire evening. I was, however, somewhat confused by the decision to include an intermission after only 30 minutes. The break felt unnecessary given the show’s overall length and momentum, interrupting rather than enhancing the experience: this show could easily have been a one-act.
The Stinky Cheese Man & Other Fairly Stupid Tales delivers an evening of goofy humor and enthusiastic performances. While it has its rough edges, there is genuine charm in watching a cast of all ages create something together, and this production will likely appeal to young audiences and those who fondly remember the book.
The Stinky Cheese Man & Other Fairly Stupid Tales runs at the Playcrafters Barn Theatre (4950 35th Avenue, Moline IL) through June 21, and more information and tickets are available by calling (309)762-0330 and visiting Playcrafters.com.
