Disney Beauty and the Beast Broadway

Bringing this well-loved musical to the stage poses one or two difficulties for any company in any theatre so we are eager to see how the many scenes are depicted without too much laborious set changing and, of course, how the iconic transformation is achieved.  Young Generation has a large production team of dedicated volunteers and a familiarity with the Princess Pavilion over a number of years, which is a good place to start.

The open stage with the show’s title projected at the back indicated that the scenery would not be the traditional flats and backcloths, but provided by the now popular screens that can change view in an instant, saving time, manpower and space.  It looked most professional and detailed.  Little else was needed, so the cast had plenty of room on the main stage for all the company numbers without crowding. Good use was made of an arrangement of steps upstage to elevate performers, to create separate locations and to highlight intimate moments.  The cell for the imprisonment of Maurice was very cleverly and simply suggested with a framework of gate held in place by two wolf-guards between the positioning of two large wooden crates; instantly recognisable by the audience for what they represented, they were quick and easy to move for their one brief appearance. The fabulous lighting plot had cues to enhance every aspect of the show.   Playing the opening vignette in a shadowy half-light effectively gave the impression of ‘the past’ and the dramatic change to an overall red glow before the scene became Belle’s hometown stirred the imagination as the Prince was cursed. The large rose offered to the Prince in the prologue was a perfect example of suiting the size of a prop to its relevance - central to the plot it was bold enough to be seen and the gesture of giving it so deliberately enhanced its importance.  Throughout, the focus moved to close down the stage for specific locations or to open it with full lighting effects. I think most original of all was the scary hunt for the Beast when dark shadows of the townsfolk were thrown against the backdrop in violent greens.  It conveyed a terrifying threat instantly and provided a dramatic contrast visually and emotionally to the full golden brightness of Be Our Guest when searchlights swept the auditorium, and Tale As Old As Time when the glitter ball’s twinkling lights and the spotty gobo on the walls combined in a joyful showbiz razzamatazz. Smoke and dry ice were used - as Maurice started up his machine, and to provide atmosphere during his trip through the woods, the Beast’s rescue of Belle from the wolves, and the intimacy of the transformation, and was all the more effective by being selective and purposeful. 

The volume of the band as they started the overture was acceptable and was maintained at a perfectly balanced level that allowed the voices to come through clearly both in dialogue and singing.  The diction of the cast was good enough to hear every single word and microphones picked up cues quickly without delays or technical hitches. The MD led her eleven musicians to a cohesive accompaniment for the singers, whose needs in volume and pace were sensitively heeded. The cast demonstrated that they had been carefully coached in delivering both solos and company numbers to get the best from the songs with precise elocution and relevant emotional timbre, facial expressions to augment the words, and on-stage placing and head alignment. All the soloists had tuneful, resonant voices and the company numbers blended and harmonised enjoyably. The staging of the musical numbers used the space efficiently and the choreography was set to be within the abilities of the cast members so that it looked effective.  It showed a considerable variety of styles, from the balletic to the athletic, with ballroom as well.  The contrasts interpreted the music artistically, so we saw angular prowling and impressive gymnastic moves from the Wolves, a nimble Viennese waltz, upright strutting tango and a can-can kick line that received a welcome cheer from the audience.  The parade of tableware was both lively and stately and taking it around the auditorium showed off the costumes, but for me the highlight was the energetic Gaston with its exciting fight sequence, well-balanced lift, hitch kicks and a tankard dance that was slick and well-rehearsed so that there was little evidence of unsure glances to the side as they made contact despite the complex changes of rhythm. The armography of the retro-dancers as they masked the moment of Beast into Prince took the eye, as it was meant to, and they kept close enough together to ensure that the transformation was invisible to us. Movement of individuals and groupings around the stage was assorted, looking comfortable and uncontrived, and I was impressed by the tidy tableaux that ended many of the numbers with disciplined stillness.

All round a highly enjoyable show from everyone involved.

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