Rodgers and Hammerstein’s 1943 musical is no cinch to sell to a modern audience. So fair play to Daniel Fish and Jordan Fein’s stirring Tony-winning production for shooting for something new.

It does so by bringing bring to the stage a most wonderful selection of songs; it does so in a stark and dynamic version and an ending that needed special negotiations with the Rodgers and Hammerstein estate. 

This is a modern, edgy and disquieting take that injects adventure and sexuality into a classic musical, making it fresh-minted.

Yet, in some ways, not everything works. Some artistic choices are obtrusive and clunky. No overture?

Still, the result is a beguiling, brave and occasionally contentious 3 hours of flying corn, racial tension and lust. Lots of lust. 

Using Daniel Kluger’s plucky arrangements, the nimble 7-piece band keep things ticking over. There’s stunning dance and startling close-up video projection work.

Then there is the design, or rather the anti-design, by Laura Jellinek and Grace Laubacher. They set everything in a sort of sun-soaked village hall with trestle tables and the audience traverse on two sides. There is light – a lot of light. And then sudden darkness. 

For her part, lead cow girl Anoushka Lucas is a star. Her Laurey, stunning to watch is torn between guitar wielding Curly (Arthur Darvill) and shy Jud (Patrick Vaill). 

While containing the giggling frisky Ado Annie (Marisha Wallace), the “girl who cain’t say no”, tears the roof off the Young Vic with her number. 

Having said all that, this revisionist production is a mixed blessing, but it is a masterful reinvention that should win new fans. The American Dream wins, but at what price?

The Young Vic continues to be an essential theatrical destination.

At the Young Vic, London, until 25 June