Disney’s Beauty And The Beast

Todmorden Hippodrome Youth Theatre’s production of Disney’s Beauty and the Beast was a warm and engaging retelling of the classic tale, brought to life with charm, energy, and attention to detail. Set between a sleepy French village and a mysterious enchanted castle, the story follows Belle, a curious and kind-hearted young woman, who offers herself in exchange for her father’s freedom and finds herself face-to-face with the Beast, a prince cursed for his arrogance. As Belle and the Beast begin to understand one another, the castle’s enchanted staff hope that love will break the spell before it is too late.

Artistic Direction from Martin Cook was confident and well-paced, allowing the emotional beats to land while keeping ensemble scenes lively and cohesive. There was a clear love of detail throughout, from the blood stains that appeared on the Beast’s costume after his encounter with the forest wolves, to the imposing gargoyle perched atop the prison cell wall. The way the Beast was physically realised was particularly effective: walking on all fours, leaping onto bannisters, and climbing onto a chair to eat, all of which helped reinforce his animalistic nature and made his transformation more impactful. These touches added texture and theatricality, contributing to the show’s visual spectacle without overwhelming the storytelling.

Musical Director Helen Clarkson led the musical side of the production with clarity and confidence. The orchestra was well-balanced and supportive throughout, never overpowering the vocals but always adding colour and momentum to the storytelling. Tempi were well-judged, allowing space for character moments while keeping ensemble numbers lively and tight. Helen drew expressive performances from the cast, with soloists delivering their lines with conviction and ensemble harmonies landing cleanly and coordinated. Numbers like “Belle,” “Gaston,” and “Be Our Guest” had real drive and sparkle, while quieter moments such as “Beauty and the Beast” and “If I Can’t Love Her” were sensitively shaped. The musical transitions between scenes were smooth and atmospheric, helping to support pace and mood, the musical direction brought cohesion and warmth to the production.

Choreography by Alexandra Townend, aided by Lisa Parker, was lively, characterful, and full of clever touches. Movement was well-matched to the space and the story, with each number shaped to reflect the mood and personality of the characters involved. The ensemble work was tight and energetic, and there were standout moments of invention, not least the salt and pepper shakers performing a Cossack-style dance during “Be Our Guest,” which drew delighted laughter from the audience. The tavern routine in “Gaston” was another highlight, packed with stomping, clapping, and mug-slamming bravado that matched the character’s inflated ego perfectly. The choreography added texture and humour throughout, helping to define the enchanted objects and bring the castle and village scenes to life with flair.

Set design by Steve Clarkson was impressive, offering a strong visual framework for the story. Painted backcloths shifted the audience between village, forest, and tavern with ease, while trucks brought on Belle’s cottage, her bedroom in the castle, the library, and the prison, each space clearly defined and thoughtfully dressed. The castle interior dominated the rear of the stage: as the curtains rose, a stone-walled backdrop was revealed, complete with a raised platform behind a balustrade and central steps leading down to the main playing area. The back wall featured four small stained-glass windows and a larger central one depicting a rose, adding colour and atmosphere. A turret to the far right cleverly housed the enchanted rose, when opened, it revealed the glass container lit on a stone pedestal. The whole mechanism was smoothly run, with the rose slowly moving forward for better viewing. The petals dropped exactly on cue and dimmed gently, adding a lovely bit of stage magic to a key moment in the story. Lead Set Builder David Winslow and his team realised Steve’s vision with expert artistry, ensuring each piece was both functional and evocative. Their work underpinned the production’s seamless transitions and immersive atmosphere.

Stage Manager Andy Thomas together with Deputy Stage Manager Steven Hooper, oversaw an impressive number of stage crew, coordinating scene transitions, prop movements, and technical cues with precision and calm authority. The sheer scale of the backstage operation was clear, trucks rolled on and off smoothly, complex set pieces were manoeuvred with care, and every blackout, reveal, and transformation was executed with confidence. The backstage team ran like a well-oiled machine, ensuring that the magic onstage was supported by seamless coordination behind the scenes.

Properties by Nina Hatfield and team were spot-on, with great attention to detail throughout. From tankards and trays of food to pitchforks, rolling pins, axes, scythes, and flaming torches, everything felt purposeful and well-chosen. The props helped define each setting and added texture to the storytelling, especially during the “Mob Song,” where the villagers stormed the castle armed with whatever they could grab. It was a notable example of how props can elevate a scene without drawing focus, supporting the action, and keeping the world believable.

Sound and lighting, provided by Light and Sound UK, played a huge part in the show’s overall impact. The sound was consistently clear, with a good balance between vocals and orchestra, and sound effects landed right on cue. The lighting design added atmosphere and drama throughout. The forest scenes were full of eerie shadows and strange silhouettes, while the castle interior felt dark and oppressive, with tight spotlights used to wonderful effect. The enchanted rose was beautifully lit, soft, and ethereal, and its slow fade as petals dropped was timed perfectly. The opening sequence was especially striking, with the narrator lit in a single spotlight while cool blue beams picked out the prince and the enchantress in silhouette. It was a lovely bit of storytelling, setting the tone for the magic to come.

Wardrobe and makeup were thoughtfully executed. Emma Cook and her team produced a cohesive and character-driven set of costumes, from Belle’s village dress to the Beast’s layered textures. The enchanted objects, provided by NoEyed Theatre, were inventive and well-integrated. A standout moment came during the transformation of the beggar woman into the enchantress, the dress folded into a black cloak, then fell away to reveal a beautiful gown beneath, drawing audible appreciation from the audience. The makeup team supported the storytelling effectively, with prosthetics from RC Prosthetics allowing for expressive performance without compromising visual impact.

Amelia Cropper gave a heartfelt and confident performance as Belle. She brought warmth and intelligence to the role, with a clear sense of curiosity and quiet strength. Her vocals were expressive and well-controlled, particularly in “Home” and “A Change in Me,” where she conveyed Belle’s emotional journey with sincerity and poise. On stage, she moved with grace and purpose, and her interactions with both the villagers and the enchanted castle staff felt natural and well-judged. Amelia anchored the story beautifully, offering a Belle who was both relatable and quietly determined.

James Shepherd gave a physically commanding and emotionally nuanced performance as the Beast. His animalistic movement, often on all fours, perched on furniture and balustrades added depth to the character’s isolation and rage. There was a subtle shift in his posture and tone as his relationship with Belle developed, and his vocals in “If I Can’t Love Her” and “How Long Must This Go On?” were particularly strong, anchoring the character’s emotional arc with clarity and control.

Caleb Crisp was thoroughly entertaining as Gaston. He looked the part and played it with gusto, gesticulating and pontificating with comic precision. His interactions with the village girls and condescending attitude toward Belle were well-pitched, and his vocals in “Me,” “Gaston,” and its reprise were confident and characterful. Issac Parsons played a wonderfully comic LeFou, animated and acrobatically tossed about by Gaston. The pairing of the two actors was excellent, they bounced off each other with great timing and chemistry, adding energy and humour to their scenes.

Charlotte Hatfield was fabulous as Lumière, with a strong French accent and flamboyant mannerisms. Her comic timing was excellent, and her vocals in “Be Our Guest” were energetic and assured. Samuel Rawlinson brought great comic timing and physical humour to Cogsworth, using his costume to enhance the character’s fussiness and exasperation. Their dynamic as the enchanted house staff was well-balanced and consistently entertaining.

Eliza Noor-Shah gave a gentle and sincere performance as Mrs. Potts. Her accent was well-executed, and her vocals in “Be Our Guest” and “Beauty and the Beast” were soft and expressive. She moved with poise in her porcelain-inspired costume, contributing warmth and emotional grounding to the enchanted household. Kate Whitehead was a warm and engaging Chip, with great timing and a lovely rapport with Eliza Noor-Shah. Her costume allowed for clear movement and her performance was full of charm.

Sienna Buckley brought flair and expressiveness to Babette, with a playful French accent and elegant movement that complemented her costume and character. Anya Dabell played Madame de la Grande Bouche with operatic flair. Her top notes were clean and strong, and

she moved gracefully in her wardrobe-inspired costume, adding theatricality and vocal strength to ensemble numbers.

Zac Maguire gave a zany and heartfelt performance as Maurice, Belle’s eccentric inventor father. His scenes, from showcasing inventions to being mocked in the tavern, were well-acted and full of character, with comic timing and emotional sincerity.

The ensemble contributed significantly to the production’s success. Their energy, characterisation, and synchronicity were consistent throughout, and their harmonies in group numbers were well-balanced. Movement was purposeful and reactions well-considered, adding depth to village and castle scenes alike.

Todmorden Hippodrome Youth Theatre’s production of Disney’s Beauty and the Beast was a thoughtful and well-crafted production, with plenty of charm and attention to detail. Strong performances, creative staging, and a clear sense of storytelling came together to make for an enjoyable evening of theatre. From the music and movement to the set and lighting, each element supported the story with care and imagination.

Thanks to TAODS for the invitation, and especially to David Winslow for the warm welcome and hospitality throughout the evening, I look forward to many more productions from them in the future.

 

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