Beauty & The Beast script from Limelight Scripts Sheffield

A panto version of a charismatic story, proving what’s inside counts ‘Beauty & The Beast’ with goodie well-lit Fairy Rose overcoming the evil of horned Witch Thorn. Add an unwanted suitor, two ghastly shopaholic sisters, a bit of corn and slapstick, an egotistic Prince, loving mother, beautiful bookworm Belle, a truly gorgeous 6‘ 4″ Dolly Donut, a Candelabra Garcon and of course The Beast. A challenging choice, one of which was most pleasingly executed.

Up-to-date technology, four legged transport as well as a smooth side gliding taxi, took us to varying locations – a bakery in Le Petit Pain, Spooky Wood encountering goblins and a Werewolf - various areas within the Beast’s Castle including his garden where the all-important single red rose grew, his kitchen, and of course Grand Ballroom. Exceptional vibrant scenery was designed by Claire Goodchild, full of magical detail in village buildings, flowers in pots, snails, a very spooky wood which all came together with the huge efforts from the talented group of scenery builders. Props were plentiful and the utensil selection fun. Sounds off and effects were created and controlled by Adrian Keep, with fine lighting effects from Matt Welch.

With mainly piano accompaniment, suitable musical numbers came across as well balanced, with lyrics audible, happy faces, a little bit of romance, with solos and duets, some upbeat, others traditional, good audience participation song too, plenty of energy for ‘killing The Beast’. Interesting movement created by Sarah was very nicely performed and I must say the Beast’s dance improvement classes worked a treat! Costuming such a production requires a great deal of attention - ‘Mad Hatters of Bodiam’ provided these - perfect fits, good shoe wear, make-up, hair styling, and accessories, including animals were well turned out.  The Beast’s headdress and face including hands, Gustav’s slick suit and cane, then the jodhpurs, Belle’s famous gold ballgown, Fairy Rose in pink, Witch Thorn sinister black – great horns too all perfect. A strong performance came from Clara Batten as baker’s boy Crouton, attired in brown leather and boots together with bendy baguette, the Goblins, lovely Maids and Guards too so in keeping. And I’ve not forgotten the psychedelic trio namely Dolly Donut with another speciality headdress in lime green and orange made with remarkable ‘folly foam’, in a mighty swirl topped with a lime green teapot, and Sisters Nutella and Canderel just great with wigs to match  - purples, pinks and those tight pants!!

Good direction, easy movement, use of space, confidence and excellent diction. Lydia Smith made a very trim most pleasing Belle, with both her script and her singing, working very well with Nigel Hook as The Beast – the transformation scene went particularly well. The young egotistical Prince was carried off by Jamie Pearce-Martin. Pennie Howard - a kindly Mother, Madame Baguette, throughout and despite her despair at the loss of her bakery, got her wishes.  David Axford created a dislikeable Gustave and we enjoyed booing as we did for Amy McInerney giving an equally nasty performance as Witch Thorn and we packed her off to the Spooky Wood. Bobby Lipscombe performed a fine silver candelabra Garcon, maintaining  his French accent - elegance, lithe gloved hand movements, complete with lit tealights. Perhaps not all mentioned by name but some impressive work from the youngsters and ensemble. Special mention must go to Greg Lee who took up the gauntlet, getting to grips with Dolly Donut’s ‘parts’ in such quick time – what a trouper.

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