Beauty and The Beast

The latest production of Beauty and the Beast, performed by Crigglestone Community Theatre Company offered a variation of the traditional pantomime, delivering wholesome fun for all the family.

Set in the delightfully reimagined "Les Cotswolds Français," the show masterfully brought the French fairytale to life with colourful characters and a warm, engaging narrative. Francine Phillips played Felix the French poodle, a whimsical narrator whose refusal to follow instructions provided consistent amusement throughout.

The show opened with a rousing mash-up of Get Ready and Dancing in the Street, creating an energetic and inviting atmosphere. The struggles of the villagers, who lamented that "even the rich are poor," set the stage for a story filled with humour and heart. Nick Harvey-Wade was excellent as the Dame, imbuing the role with the warmth, charm, and comic timing essential to the panto tradition. His efforts to hold the family together despite adversity were a highlight.

Emma Jeffreys brought a strong presence to Malabelle, the spurned witch, whose transformation of Prince Christophe into the Beast served as the story's turning point. While her character could have leaned more into outright villainy to heighten the drama, her quick wit and the adult-pleasing line, “I love my booze,” when faced with audience boos, ensured she remained memorable.

Graeme Hemingway gave a powerful performance as the Beast, portraying the character's torment and ultimate redemption with conviction. Katie Binns was a delight as Rose, the kind-hearted heroine, whose time in the Beast’s magical castle—complete with enchanted furniture, lavish feasts, and magical mirrors—added a touch of wonder and enchantment to the story.

Samantha Whitford and Niki Carter as the blacksmith Capucine and her love interest Jacques added a subplot of romantic charm and gentle humor.

However, the script’s modern approach seemed to miss some traditional panto elements, such as the classic Village Idiot and a comedic duo. While Felix, Capucine, and Jacques may have been intended to fulfill these roles, the script didn’t quite provide the comedic material to fully embody these archetypes, leaving a gap in the humor that panto regulars might expect.

Ultimately, the show ended on a triumphant note, with Prince Christophe breaking the curse, marrying his Beauty, and even Felix the poodle finding love. While it lacked some of the traditional panto staples, the production’s charm, thoughtful staging, and vibrant performances ensured it was a joyful, heartwarming experience for all.

Well done to the production team of Dean Patrick (Director), Kerry Warren (Choreographer), and Emma Jeffreys (Musical Director), who clearly thought carefully about giving every cast member their moment to shine. This effort reinforced the strong sense of community that Crigglestone productions are known for, adding an extra layer of warmth and inclusivity to the performance.

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