Disney’s Beauty and the Beast

One of the original Disney Princesses in her own story of triumph over adversity, selflessness, and helping us all discover that true beauty is actually what’s on the inside – Beauty and the Beast is a classic. The reimagining of the original tale into the Disney world where Belle herself doesn’t feel like she fits in gives her something instantly in common with the Beast. It’s an ambitious project to do justice to a Disney story, instead of the usual Panto fair this is treated with, and the production comes up trumps. 

The first noticeable thing is how the company have added a welcome depth to the stage, giving everyone more room and breathing space, and it’s better for it. The beautiful set is so simple: black backdrop with the classic stained-glass window in the centre with the rose in it, as per the film; but with added candelabras that magically flicker on and off at punctuated moments. There is a rose in a cage which loses one petal at a time as if by magic when the tale calls for it. The simplicity is not only gorgeous it adds class to the whole production. 

Costumes, hair and make-up are another strength, as these characters have to look specifically like household items. Lumiere’s cuffs and hat look like candles, and pop up to flicker on and off when called for. Cogsworth really looks like a carriage clock and chip in the cup looks delightful, complete with bubbles escaping from the cup every so often. The dance of the dishes in “Be Our Guest” was fantastic, plates and cups and sugar hats on top of sugar bowl: brilliant!  

This company really excel at staging crowd scenes: the spacing and the movement even in a small space works so well, where there are tons of people on stage. It’s such a joy to watch. The other notable thing is the inclusivity: all levels of ability being included in the ensemble, this being no exception. It ensures the productions really are expressive of the community to which they belong and it’s so lovely to see. The other feature is the BSL interpreting of every show, which is unusual and so very welcome. The Friday night performance was BSL interpreted by none other than the director herself who is fully qualified. It’s so brilliant that a local community company is championing different abilities and having such awareness, including special charity performances of the show. Such great ethics, ethos and thinking. 

There are huge numbers of cast involved so not everyone can be singled out but special mention needs to go to Jack Taplin, also Chair, in his first lead role as the Beast. In full beast head and paws in the middle of a significant heatwave should be applauded. He was excellent as the tortured Beast who was still holding on to a single shred of hope that his situation could be saved. He had great presence and voice. Kiri Standing made a very gentle Belle, it would be good to see her push her presence a little further in future roles, as it’s clearly there. Perhaps nerves played a part here. Benjamin Craven made a fabulous Gaston, the Neanderthal type man we all love to hate. He embraced the role as if it was the lead, which Gaston would have thought it was! He swaggered, he blustered, his presence was huge: brilliant work. His voice was also the standout of the show: such a clear and strong voice, pitch perfect, a joy to hear. Jesse Wilkes was superb as Le Fou and also unrecognisable as the Young Prince in the beginning, so much more than Gaston’s comedy sidekick, and a beautiful voice as well, plus lovely dancing skills on show. Robin Creffield shone as Lumiere, with his flirtatious amiable style and candle hands which he worked so well. Sharon Gladman was a super Mrs Potts: wise and comforting and occasionally very strong. Evelyn Stacey was such a cute Chip, suitably innocent and sweet. Meredith Creffield shone as the diva Madame de la Grand Bouche, giving her swagger and confidence in spades, and her voice was a joy to hear. The three women in love with Gaston (for who knows what reason!) and fighting over him were such comedy moments to enjoy, particularly Carrie-Ann Schless who was hilarious. 

It’s very hard singing along to a soundtrack as there’s no response from the musicians to the singers, but the company were well rehearsed so this worked very well indeed. The choreo and movement segments of the wolves attacking was brilliantly done: the wolves with their glowing eyes and stylised hunting movements which were lovely. Transitions between scenes could be smoother if things were changed as part of the scene – something to explore in future. The crowd mainly sang together but in “Human Again” there were some really enchanting harmonies as well. There were so many lovely moments in the show it really was super to see: a testament to the hard work and love poured into it all from everyone involved. Congratulations to every single person involved in the production for a really lovely show. 

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