Beauty and the Beast

I have been travelling to Richmond to watch the Operatic Society produce shows for the best part of forty plus years, firstly at the old Zetland Theatre and latterly at the (even older) Royal Georgian Theatre. In all that time I have yet to see them put on a bad production.

This year they graced the Georgian with a Disney classic in Beauty and the Beast. Knowing the dimensions and the intimate nature of the theatre I wondered how they would achieve it for a show that relies on lavish costume and sets involving village squares, spooky forests, and enchanted castles with battlements.

Richmond thinks outside the box, and I doff my imaginary cap to them. All scenes were created with minimal fuss through a fixed raised mezzanine level, revolving triangular set depicting amongst many, village scene, library, and the ubiquitous enchanted rose. Towards the back of the stage was a giant ‘picture book’ that depicted the many scenes including a barred prison enclosure where belle’s father was held. Each ‘page’ was manipulated by crew and/or ensemble members with alacrity and generally in a timely manner covered by some music by the live band in the ‘pit area’ of the theatre.

As to the cast and production itself ‘Belle’ (Victoria Bennett on the night I was there – a role shared with Grace Baker) looked, acted, and sang sweetly with the correct balance of vulnerability but steely determination. ‘Maurice’ (Belle’s father – Martin T Brooks) played the role of eccentric inventor well engendering many laughs with his ‘head-dress’ when questioning why villagers would find his daughter odd.

Would be suitor to Belle was ‘Gaston’ (Chris Wellings) who sang his numbers with great humour albeit (and purely personal preference) felt he could have benefitted from a little more ‘padding’ to emphasise his ‘manly beefcake’ nature. That said he acted well, and the audience could sense the irony in his lib and Belle’s reluctance to commit to him. Ideal for his role as ‘LeFou’ was Iain Pearson as he blustered his away around set basking in the reflected glory of his master Gaston.

In the enchanted castle and its inhabitants were ‘Lumiere’ (Lee Bowles) and ‘Cogsworth’ (Graeme Mulvey) who acted almost as a comedy double act with Lumiere’s confidence and Cogsworth’s up-tightness – well done both. ‘Mrs Potts’ (Nicola Stephenson) was every inch the homely housekeeper (turned teapot) whilst caring for her son ‘Chip’ (Ava Cropper – a role she shared with Elliot Ryde) – it was the first time I’ve seen Chip as a chipped cup with legs (rather than hidden away inside a tea trolley) but I suppose the limitations of the stage necessitated the change – but it ‘worked’ well. Mrs Potts is privileged to sing the show’s title song – and performed it really well.

Other castle inhabitants were ‘Babette’ (Naomi Waite a maid reconfigured as a feather duster) and ‘Madame’ (Amy Fudali – a maturing opera singer – reconfigured as a wardrobe) – both performed well with Amy’s excellent voice shining through.

Taking on minor roles in the village were the ‘Silly Girls’ (Caitlin Smith, Freya Woodward, and Becca Foster) – intent on having Gaston for themselves; also ‘Monsieur D’Arque’ (Will Gardner – the asylum warden)

You cannot have a ‘Beauty’ without a ‘Beast’ – a role performed admirably by Russell Billingham who measured his change from arrogant angry prince to placid adult in love with Belle impeccably with some humorous dialogue in between.

I’ve mentioned the dimensions of the stage before and I am fascinated that the principals could use the stage alongside the ensemble and kids chorus and still move let alone do choreography as required in the show-stopper ‘Be Our Guest’ – but they did, to great effect. Hats off to the person acting as the dinner napkin as their movement and style was excellent.

In all well done to the production team and the cast and crew for fetching this difficult production to life.

I look forward to Sweeney Todd next.

 

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