Carolyn Johnson, Freelance Writer

Cutie (Camille Davis) and the Freak (Courtney Wilson) during a scene from Patrick Brown's play 'Cutie and the Freak', at Centrestage, Dominica Drive, New Kingston, on Saturday, December 30, 2006. - Photos by Winston Sill/Freelance Photographer

At a time when love is superficial and Hollywood defines ideals of beauty, Cutie and the Freak explores unconditional love in the most odd of places.

A remake of the fairytale Beauty and the Beast, Patrick Brown's Cutie and the Freak is a love story that is almost predictable and corny.

The 10th Annual Christmas Production, directed by Trevor Nairne with Jon Williams and Barabara McDaniel completing the Creative Team, is saved by the few twists encountered before the plot fully unfolds.

The play explores the parent-child relationship, class, relationships and love. The play also takes a stab at politics and dancehall.

Cutie and the Freak surrounds Cutie's (Camille Davis) journey to womanhood as she seeks to break the binds of her over protective father Tiny (Oliver Samuels) who refuses to let her go. She, prodded by the helper Munchie (Belinda Reid) devises a plan, using the Freak (Courtney Wilson) to teach her father a lesson. But the plan backfires and leads all into relationships and love they never thought possible while building character and changing each in different ways.

Hilarious in spurts

Although the play is funny, it is only hilarious in spurts. Many of which come when Glen Campbell plays his numerous roles. As his main role Ben, the Freak's unsupporting imaginary friend, he is already the life of the play and never fails to keep the audience laughing. His other roles as Ezekel and Killer, possible suitors for Cutie, Campbell's talent is shown as he easily switches from role to role, mastering each.

Humour also comes from Oliver's lisp and his pronunciations of 'Cuthie', 'botham'. He is the ignorant man from downtown, who has worked hard to achieve his fortune which he believes has earned him a place in the upper echelons of society. But he is still as much a 'butu' as is his housekeeper who shouts "a who dat" when someone knocks. But his, "Who are it," is a far cry from the Queen's English. Davis' performance is acceptable and so is Wilson's, though the Freak is a little boring.

Uninteresting songs

As a musical, the songs do not add much to the play and are uninteresting. Setting and costumes are fitting and as usual well done. The Freak is, as expected, as ugly as can be or as Campbell describes him, "a cross between a bullfrog and a bulldozer".

While Cutie and the Freak does not live up to the expectations of past productions, it is entertaining and can be seen.