Disney’s Beauty and The Beast

From the very first flicker of light, Blackburn Musical Theatre Company’s production of Disney’s’ Beauty and the Beast’ proved it would be a production rooted not just in fairy tale, but in craft, care, and creativity. It began with a tender tableau: a glowing storybook positioned stage right, and Nicky Dickinson as a mother reading the tale aloud to her children. Her voice, calm and inviting, pulled the audience in as the opposing side of the stage came to life. The young Prince appeared, regal and vain, rejecting a mysterious Enchantress who offered a single rose. A dramatic shift in lighting signalled his transformation, carried out through swirling fabric, ominous colour, and shadow play—until the prince was gone, replaced by a solitary Beast beneath a glowing rose. With that, the overture swelled, and the world unfurled around us.

The visual splendour of the production was immersive and stunning. Gothic arches and candlelit halls gave way to snowy forests and golden-lit libraries with seamless transitions. Projection effects and clever lighting design elevated every moment—from the warm vibrance of village life to the haunting chill of the cursed castle. The enchanted rose glowed ominously from its cloche, and the pulse of colour used to show its fading magic gave the story an ever-present dramatic heartbeat.

Directors Tony Fry and Gary H Worthy shaped the production with elegance and emotional depth. They allowed humour to breathe, sorrow to linger, and moments of transformation—emotional and magical—to land without force. From character nuances to scenic rhythm, their fingerprints were on every thoughtful beat. Their staging of intimate moments, like Belle’s discovery of the library, held just as much theatrical weight as the show’s lavish ensemble numbers.

Musical Director Nick Saunders led a rich live orchestra that blended beautifully with the cast’s vocals. Whether the moment called for tenderness, like Mrs. Potts’ ballad, or bombast, like Gaston’s tavern number, the musical execution was precise and dynamic. The balance between pit and performance, expertly managed by sound designer John Ormerod, ensured every harmony soared and every lyric resonated with clarity.

In the title role, Leanne Wharf offered a Belle who was more than a book-loving dreamer—she was spirited, observant, and brimming with empathy. Her vocals, particularly in “Home” and “Belle (Reprise),” were clear and heartfelt, but it was her emotional intelligence on stage—her stillness, her focus—that truly anchored the story. Her growing relationship with the Beast felt authentic, built through glances, patience, and mutual vulnerability.

Matt Whatley’s Beast was a revelation. Physically imposing but emotionally tentative, his journey from guarded rage to open heartedness was subtle, believable, and affecting. “If I Can’t Love Her” was the show’s emotional apex—his voice cracked just enough to carry the weight of regret. Matt’s physical portrayal also evolved, becoming more upright and expressive as the character found hope. His last moments with Belle, reaching for her with trembling hands, were deeply moving.

Paddy Darnell-Walsh’s Gaston was a comedic powerhouse, delivering big laughs with exaggerated bravado and perfect comic timing. His tavern number was a standout choreographic gem. Clinking tankards, rhythmic stomps, and a raucous ensemble routine (complete with a mug-based percussion sequence) brought the house down. Paddy’s Gaston was charming at first glance but chilling beneath—his descent into obsession during “The Mob Song” offered a sharp turn into real menace.

Charlie Birtwistle’s Le Fou added a masterclass in physical comedy, flipping, tumbling, and bouncing through the tavern with puppy-like loyalty. His timing with Gaston was flawless, and his pratfalls were a hit with the crowd.

Matthew Garnerbundy-Higgs’s - Lumière stole scenes with a blend of suave humour and showman’s flair. “Be Our Guest” was his finest hour—a dazzling display of vocal strength, comedic charm, and collaborative choreography. His chemistry with both the ensemble and Kris Wlodarczyk’s Cogsworth was electric, their interactions peppered with affection, bickering, and beautifully timed asides. Kris’s Cogsworth, prim and puffed with pride, contrasted luminously with Lumière’s flair, resulting in a delightful double act throughout.

Dawn-Marie Nicholls brought a beautifully layered performance to the role of Mrs. Potts, capturing not only the character’s maternal grace but also her quiet resilience. As the castle’s head housekeeper-turned-teapot, she exuded a calm authority that grounded the more whimsical elements of the enchanted household. Her interactions with the other castle residents were filled with gentle humour and understated leadership—always the one to smooth tensions or offer a kind word. Vocally, her rendition of “Beauty and the Beast” was a true highlight of the evening. Dawn-Marie sang with a soft, lilting warmth that wrapped around the audience like a lullaby. It was not just technically strong—it was emotionally resonant, delivered with a sense of reverence that made the moment feel sacred. The stillness in the theatre during that number spoke volumes. Her relationship with Chip was especially touching. Whether gently scolding him from her teapot spout or embracing him in human form at the end, their bond added a tender emotional thread that ran quietly but powerfully through the show. Mrs. Potts was not just a supporting character—she was the heart of the castle, and Dawn-Marie played her with grace, humour, and a deep sense of care.

Chip, played in rotation by Nora Cryer and Patsy Slater, was a consistent audience favourite—adorable, confident, and full of charm. What made the performance even more magical was the ingenious staging of Chip inside the tea trolley. Nestled within a custom-built cart that rolled smoothly across the stage, Chip’s face peeked out from a teacup lid, allowing for expressive reactions and perfectly timed one-liners. The trolley itself was beautifully crafted painted in soft pastels with gilded trim; it glided effortlessly thanks to Dawn-Marie’s steering. Despite the physical limitations of the setup, both young performers delivered their lines with clarity and comic timing, often drawing spontaneous giggles from the audience. Whether chiming in with a cheeky remark or reacting with wide-eyed wonder, Chip brought a youthful innocence that grounded the castle’s enchantment in something real and relatable. His final moment—appearing from the trolley in human form and reuniting with Mrs. Potts—was met with a collective “aww” that rippled through the theatre.

Brenda Murray’s Madame de la Grande Bouche was larger-than-life in both voice and character. Her operatic outbursts executed within impressive control and comedic exaggeration, and her facial expressions—from wide-eyed gasps to diva-level dramatics—were a joy to behold. Edward Munday played Belle’s father, Maurice, with a lovely balance of eccentricity and emotional depth. His invention—a clunky, steam-punk-inspired cart of lights, tubes, and turning gears—rolled onstage with humour and charm, adding to his portrayal’s heartfelt whimsy.

Laura Ashworth’s Babette was a delightful spark of flirtation and flair. As the castle’s feather-duster-turned-coquette, she brought a vivacious energy to every scene she entered. Her chemistry with Lumière was playful and electric—each wink, flounce, and teasing remark delivered with impeccable timing and a knowing smile. Whether gliding through “Be Our Guest” with feathered elegance or tossing a cheeky glance during castle chaos, Laura’s performance added a layer of charm that balanced the castle’s warmth with a dash of mischief. Her physicality—light on her feet, expressive in gesture—made Babette feel like a character plucked straight from a Parisian cabaret, and the audience adored her for it.

Simon Thompson’s Monsieur D’Arque’s arrival during the asylum scene brought a sudden chill. His slinking gait and softly sinister tone gave this moment genuine dramatic bite, contrasting effectively with the brighter palette of much of the show.The ensemble was essential to the magic of the piece. Nowhere was their impact more dazzling than in “Be Our Guest,” which rivalled any professional production in scale and joy. Outfitted as glimmering cutlery, dancing plates, twirling napkins, and even a rolling champagne bottle, the ensemble burst onto the stage with effervescence. Choreography by Katie Fry was razor-sharp, playful, and visually cohesive—incorporating wave patterns, ripple effects, and a kick-line of utensils that earned raucous applause. The finale of the number, with Lumière lifted high and the ensemble fanned out beneath him in a golden arc, was a showstopper. Equally effective was the mob scene, where Gaston whipped the villagers into a frenzy. Torches flashed, pitchforks clashed, and harmonies surged—each member of the ensemble deeply committed to the narrative tension, proving this was not just spectacle—it was storytelling.

Behind the scenes, Stage Manager Chris Scholey orchestrated smooth transitions and split-second timing across dozens of cues. Props, designed and managed by Jonathan Mallinson, Pauline Nuttall, and Fleur-Lily Bramley, were immersive and precise—from Gaston’s chair and Belle’s book-filled basket to the luminous rose that glowed with purpose. Every item felt like it belonged in this world.

Lighting designer Paddy Keane crafted a palette of golden warmth, icy enchantment, and dramatic shadow that shifted with the tone of each scene. Whether illuminating the Beast’s loneliness or painting the tavern in amber joy, the lighting was storytelling. John Ormerod’s sound design and mixing ensured every note, lyric, and magical effect landed cleanly, with spellbinding results.

By the final transformation—when the Beast, reborn, rose into the light and reunited with Belle—there was a tangible sense of wonder. The audience leapt to its feet for the curtain call, clapping and cheering with genuine delight. This was more than a show. It was a heartfelt, high-calibre piece of theatre created by a team who loved the story they were telling. It was magic written in light, music, laughter, and heart—and every soul in the Empire Theatre that night felt it.

I would like the thanks Blackburn Musical Theatre Company for inviting me and my plus one to this fantastic production and look forward to many more shows from them in the future.

 

 

 

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