Beauty and the Beast

There can often be an assumption that a school or college production will be of a lower standard. Fortunately, this perception is becoming increasingly outdated, thanks to the exceptional standard of work being produced by talented young performers and creative teams such as this one.

The quality across every aspect of the production was outstanding, performance, lighting, sound, set, props, costume, and overall presentation were all delivered to an impressively elevated level. From the local primary school children taking on their various roles to the larger‑than‑life Disney characters in the lead parts, every individual understood their role and delivered it with confidence and precision.

Directed by Sara Durkin, this production marked the company’s first time performing under the NODA banner and what an outstanding way to begin their journey with us. With over twenty years of productions behind them, and now performing in their newly refurbished theatre, it was heartening to see such strong support from both the governors and the local community, whom Sara rightly praised.

Sara’s direction was excellent. Every performer understood their character and delivered exactly the interpretation she intended the audience to see. The staging was cleverly designed and brought this magical Disney story to life with great imagination and clarity.

Musical Direction was provided by Sara Durkin, Tom Guest, and Gary Jerry, who together guided this talented cast through a varied musical score filled with style and vibrant harmonies. Each performer was perfectly matched to their musical material, demonstrating strong tone, control, and at times astonishingly mature stylistic choices. Many sang with a vocal quality far beyond what would normally be expected for their age, resulting in a consistently impressive standard of performance throughout.

The choreography for this production, created by Hannah Hadlet, presented no small challenge yet she rose to it brilliantly. The exceptionally talented students undoubtedly made her work rewarding, and the results were evident throughout. From the large, stage‑filling company routines to the smaller, more intricate moments where additional movement enhanced the storytelling, every performer delivered with precision. The cast frequently demonstrated impressive unison work, often incorporating flips, leaps, and dynamic transitions on and off the stage with confidence and style.

Ed Blankley served as the sound technician for the production, making excellent use of the venue’s newly refurbished system to create a seamless auditory experience. Balancing backing tracks, microphones, and a wide array of sound effects is challenging at any level, yet Ed ensured clarity, consistency, and atmosphere throughout.

Lighting was programmed by Aaron Blackledge, who filled the stage with vibrant colour, energy, and visual interest during the larger ensemble numbers, while also creating moments of stillness and emotional focus where required. Disney productions rely heavily on colour and lighting to capture mood and magic often a difficult balance, but Aaron achieved this with great skill, maintaining intensity without overwhelming the storytelling.

The set design was equally effective. A large, raised walkway framed the back of the stage, complemented by a tall platform representing the Beast’s tower. Scene changes were facilitated smoothly by cast members in their servant roles, adding to the fluidity of the production. The floor was beautifully painted, featuring a central path with detailed stonework on either side, further enhancing the visual appeal.

A large projector screen at the rear of the stage displayed animated backgrounds that transported the audience effortlessly between castle interiors, eerie woods, bustling taverns, and more. These projections, used in harmony with the physical set, successfully immersed the audience in the world of the story, and supported the performances beautifully.

The cast for this production was exceptionally large and impressive, featuring over 130 musical theatre students, supported by a wonderfully talented group of youngsters from primary schools across the Tees Valley. I attended a performance by Cast B, and while I can only comment directly on what I saw, I am confident that all casts delivered the same high level of energy, professionalism, and excitement.

To begin, the roles of Gaston and his loyal yet hapless sidekick LeFou were played by Thomas Pugh and Nathaniel Collins, respectively. The chemistry between the two was excellent; from start to finish, their scenes were filled with energy, humour, and strong character work. Thomas presented Gaston with well‑considered choices, effortlessly shifting between his suave, flirtatious persona when interacting with Belle and the Silly Girls, and his darker, more menacing side. His performance captured the arrogance and egotism of Gaston brilliantly.

LeFou is a character who is often either overlooked or compared too heavily to film portrayals. However, Nathaniel made the part entirely his own. His highly physical interpretation complete with tumbles, rolls, and moments of being dragged across the stage added a fresh and memorable dimension to the role. His expressive physicality brought a unique charm, particularly evident during the iconic “Gaston” number. A standout moment for me was the “Mob Song,” performed with such intensity and cohesion that it delivered a true burst of Disney magic.

Moving to Belle’s “old fool” of a father, Maurice was portrayed by Henry Mohan, who brought an engaging mix of humour and eccentricity to the character. Henry’s performance echoed the original animated version closely, offering a warm, slightly scatter‑brained but endearing father figure far more nuanced than the stereotypical “old man” interpretation often seen.

At the enchanted castle, we were treated to a wonderful array of characters. Mrs Potts, played by Eve Cooley, was a particular delight. This was my first time hearing Eve sing, and her vocal ability is truly remarkable. She performed with a graceful, mature tone far beyond her years, and each of her musical numbers was a pleasure to listen to. Her warmth and sincerity shone through, bringing real heart to the role.

Cogsworth, the self‑appointed head of the household, was played by Poppy Fairhurst, who delivered a wonderfully crafted performance. Poppy embodied the character with confidence and precision; her vocal choices and mannerisms were consistently strong throughout. Her upright, formal stance offered a perfect contrast to her more relaxed and impulsive scene partner, highlighting the comedic dynamic between the pair. Poppy and Max worked together with excellent chemistry, showcasing the warmth, wit, and genuine friendship that sits at the heart of their characters’ relationship.

Lumière, portrayed by Max Collumbell, was an absolute delight to watch. Max captured the essence of the character perfectly—his charm, confidence, and playful humour were exactly what the story needed. His connection with the audience was especially effective; he had a natural ability to deliver lines with a sense of inclusion that drew everyone into the world of the show. This added an extra layer of engagement to an already much‑loved character, and his performance shone in every scene.

Matching Lumière’s charm and flirtatiousness was Amara Gavriel, who played the elegant and mischievous feather duster Babette. Amara brought a delightful energy to the role and was featured prominently as a dancer throughout the castle scenes. It was clear why her movement quality was consistently graceful and engaging, making her a joy to watch.

Also standing out was Evie Bage as the larger‑than‑life Madame de la Grande Bouche. Once an opera singer and now an enchanted wardrobe, the character was delivered with wonderful humour, boldness, and dramatic flair. Evie embraced the grandeur of the role and infused it with personality, ensuring the audience remained fully entertained whenever she appeared.

Belle was portrayed beautifully by Megan Vazquez‑Johnston, who delivered a thoughtful and compelling interpretation of the iconic Disney princess. Megan’s vocal ability and characterisation complemented each other perfectly, allowing her to capture Belle’s inner conflict as she navigates the strange and magical circumstances she has been drawn into. Her performance of “Home” was particularly touching, showcasing both emotional depth and impressive vocal control.

Megan also excelled in portraying Belle’s gradual shift from fear to trust—first with the Beast, and then with the castle’s transformed servants—taking the audience along on every step of her emotional journey.

The Beast, played by Orson Grossett, was nothing short of exceptional. Portraying such a complex character is challenging, even more so when much of the performance is given from behind a mask, yet Orson rose to that challenge with tremendous skill. He communicated emotion vividly through physicality, voice, and presence, ensuring the audience always remained connected to the character. His performance of “If I Can’t Love Her” was a standout moment powerful, controlled, and showing his remarkable vocal range. The reprise later in the show was delivered with gentleness and vulnerability, offering a heartfelt insight into the Beast’s inner turmoil and longing. It was a moving, human portrayal that provided one of the most affecting moments of the evening.

Chip, Mrs Potts’ lovable little lad, was played by Harrison Brown, who delivered a fantastic performance from start to finish. This was a wonderful experience for him, and he rose to the occasion brilliantly. Harrison delivered his lines with confidence, interacted naturally with those around him, and engaged the audience with charm. He captured Chip’s cheeky, curious personality perfectly and was a delight every time he appeared.

A group that is often overlooked but absolutely should not be is the lively ensemble of Silly Girls, played by Lexie Allen, Niamh Heatley, Violet Swift, and Madisyn Waistell. These four were consistently animated and full of character, and they looked as though they had stepped straight out of a Disney parade. Their energy, facial expressions, vocal work, and dance ability all contributed to a vibrant and entertaining portrayal.

One area I have not yet mentioned is the group and company sections of the production and they absolutely deserve recognition. It is not uncommon to hear cast members say that there are not enough ensemble moments in certain shows, but this performance proved the exact opposite. The cast filled the stage multiple times and delivered spectacular, well‑executed company numbers throughout.

The opening number was a standout introduction, superbly choreographed and bursting with character interactions that captured the busy, bustling atmosphere of Belle’s village a perfect Disney beginning. Another highlight was the “Gaston” number in Act 1, which showcased the talent, strength, and enthusiasm of the entire cast. Multiple dance styles were seamlessly incorporated, each performed with precision, energy, and an infectious sense of fun.

When discussing outstanding company numbers, it would be impossible not to highlight “Be Our Guest,” which was genuinely one of the finest interpretations of the number I have ever seen performed. The combination of characterisation, talent, energy, humour, and conviction was on an entirely different level. This breathtaking sequence was bursting with life complete with animated cutlery, dancing foods, and even impressive giant plates. The cast showcased remarkable stamina and discipline, performing lifts, flips, and beautifully executed partner work throughout the extended three‑and‑a‑half‑minute routine. It was a true showstopper.

Another standout moment was the “Mob Song.” This number is often overlooked in many productions, yet here it delivered a powerful and authentic Disney villain‑song atmosphere. Led by Thomas and Nathaniel, supported by a strong ensemble, the cast filled the stage with the perfect blend of anger, fear, and rising intensity. The transition from anxious villagers to a unified, fear‑driven mob was managed brilliantly and built the drama superbly.

This company is one you could watch again and again and still discover further details. They filled every moment of staging with personality, purpose, and that unmistakable Disney magic bringing the story to life with energy, precision, and sheer joy. Well done to everyone 

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