Disney's Beauty & The Beast - The Broadway Musical

Thornton Cleveleys Youth Theatre - Disney's Beauty and the Beast

Lowther Pavilion Theatre
Thursday 30th July 2026

There are productions that entertain, productions that impress, and then there are productions that remind us why we fell in love with theatre in the first place. Thornton Cleveleys Youth Theatre's production of Disney's Beauty and the Beast achieved all three and then some.

Before a single note had been sung or a line delivered, it was immediately apparent that this was going to be a special evening. The atmosphere throughout the Lowther Pavilion buzzed with anticipation. Smiling programme sellers, welcoming front of house staff, ushers and bar staff all played their part in creating an excitement that was infectious. It may seem a small detail, but it is these moments that begin shaping an audience's experience long before the curtain rises.

It was also a pleasure to meet Director Jen Daniels and Musical Director Aimee Duxbury before the performance. During the run of a production of this scale, both undoubtedly had countless responsibilities demanding their attention, yet they still found time to welcome us personally. That warmth and generosity perfectly reflected everything that followed.

Walking into the auditorium, I found myself immediately captivated. Rather than the standard house lighting, the auditorium had been bathed in beautiful pink and crimson hues using the stage lighting rig, subtly immersing the audience into the magical world before the performance had even begun. To one side of the auditorium sat an enormous glass cloche containing the iconic enchanted rose, an eye-catching feature that instantly became a talking point. Then came another delightful surprise. Alongside the programme, every audience member was handed a single red rose. It was a wonderfully thoughtful touch and perfectly encapsulated what would become the defining feature of the evening: attention to detail.

As the audience settled, the show logo was projected onto the front curtain while shimmering rose petals gently drifted across it. Even before the overture, the magic had begun.

Then the lights faded.

What followed was, without exaggeration, one of the most impressive openings I have witnessed in amateur theatre.

Using beautifully designed digital projection mapped onto a gauze, the audience was transported seamlessly into the story. The projections remained visible whilst simultaneously allowing us to see the action unfolding behind them, creating an almost cinematic quality that brought the Enchantress' curse vividly to life. It was visually breathtaking and immediately demonstrated the remarkable creative ambition of the production team.

Throughout the evening, the technical elements remained nothing short of exceptional.

Anyone who has read my previous reviews will know that I firmly believe sound, lighting and technical effects are every bit as important as the performers themselves. They create atmosphere, guide emotion and keep the audience immersed within the world of the production. Thornton Cleveleys Youth Theatre understood this completely.

The lighting design was, quite simply, the finest I have ever seen in an amateur production. The team behind the lighting was Jack Price, Jen Daniels, Dan Creasy and Karol Pasko.

Every cue felt intentional. Focus was directed exactly where it needed to be. Rarely did the production resort to blackouts, something I often feel interrupts the flow of a musical. Instead, lighting transitions seamlessly guided the audience's eye whilst allowing scenery to move effortlessly around them. At one unforgettable moment, my attention was subtly drawn towards the illuminated enchanted rose, where, almost magically, a single petal slowly fell from the flower. It was a tiny detail, yet one that left me completely astonished. Moments such as these demonstrated remarkable theatrical craftsmanship.

Equally deserving of recognition were Stuart Shawcroft and Jean Dunkerley on sound. Not a microphone fed back, not a cue was missed and every principal remained crystal clear throughout. Sound of this calibre is often taken for granted precisely because it works so flawlessly. This was professional quality.

The scene changes themselves deserve particular praise. Slick barely begins to describe them. Massive set pieces appeared and disappeared in seconds, aided by beautifully integrated projections and an incredibly efficient backstage crew. There were no lengthy pauses, no momentum lost and no unnecessary blackouts. Watching the stage management team at work was like watching a finely choreographed performance in its own right.

Jack Price, also as Set Designer and Stage Manager, deserves enormous credit. The physical staircase dominating the stage created an imposing centrepiece, whilst moving trucks carrying columns and architectural pieces transformed locations with astonishing speed. Combined with digital scenery and backcloths, the production constantly evolved without ever slowing its pace.

If one sequence encapsulated everything this production achieved, it was undoubtedly "Be Our Guest."

Quite simply... phenomenal.

The choreography exploded with energy, the staging became larger than life and the costumes transformed cast members into giant plates, sparkling cutlery and wonderfully imaginative pieces of living tableware. I smiled, laughed, gasped and found myself repeatedly whispering "Wow." Then, just when I thought the spectacle could not become any bigger, shimmering pyrotechnics erupted across the stage. Had theatre etiquette allowed it, I would happily have stood to applaud there and then.

The audience clearly agreed.

Applause followed virtually every musical number throughout the evening, but "Be Our Guest" completely stopped the show. The cheering simply refused to end, with whistles and sustained applause filling the theatre. In a lovely piece of improvisation, Joshua Quinn, remaining completely in character as Lumière, encouraged the audience to continue celebrating before effortlessly returning to the performance. It was a wonderful example of instinctive showmanship.

The choreography, created by Joanna Hindle, Elaine Morrison, Shelley Dow and Jack Price, was consistently inventive and immaculately rehearsed. With such a large company, maintaining precision is no easy task, yet every movement appeared polished, purposeful and unified. The ensemble worked as one cohesive unit throughout.

Speaking of the ensemble, what an incredibly talented group of young performers.

With over thirty ensemble members it would be impossible to mention everyone individually, but every single one contributed to the success of the production. Whether creating the bustling village, inhabiting the enchanted castle or filling the stage during the large production numbers, their commitment never wavered.

As a teacher of Performing Arts myself, productions like this remind me exactly why youth theatre matters. It gives young people confidence, communication skills, discipline and lifelong friendships. Watching so many talented young performers working together with such professionalism filled me with genuine pride. Keep striving, keep learning and keep believing in yourselves. The future of theatre is certainly in safe hands.

Amongst an exceptionally strong principal cast, several performances particularly stood out.

Islay Woolfenden was simply enchanting as Belle. From her opening rendition of "Belle", she captivated the audience with a beautifully pure vocal tone and a performance filled with sincerity and warmth. When she finally appeared in the iconic golden ballroom gown, it genuinely became an emotional moment. She didn't merely play Belle, she embodied everything audiences love about the character. Having recently completed her Musical Theatre studies at LIPA, I have absolutely no doubt that Islay has an exciting future ahead of her.

Taylor Cheeseman delivered a wonderfully layered portrayal of the Beast. His physical characterisation convincingly created the illusion of a towering, intimidating creature, yet beneath the anger lay genuine vulnerability and tenderness. His diction remained exemplary throughout, whilst his rich, expressive singing voice revealed the emotional depth of the character beautifully.

Special recognition must also go to Declan Wilkinson, who stepped into the role of Gaston at incredibly short notice following Thomas McLaughlin's unfortunate injury. Having received the call only the day before opening night, you would never have guessed he had not been through the rehearsal process with the rest of the cast. His confident performance brought charisma, humour and just enough vulnerability to ensure Gaston became more than a one-dimensional villain. The fact that a former member of the society was willing and able to step back in at a moment's notice speaks volumes about the family spirit within Thornton Cleveleys Youth Theatre.

My personal highlight of the evening, however, was Chelsey Keightley as LeFou.

I hesitate to single out one performer in a youth production, but Chelsey's characterisation was outstanding. Every facial expression, every physical choice and every comedic beat had clearly been considered in meticulous detail. Lesser performers can sometimes unintentionally draw focus away from the action when creating such an exaggerated comic role. Chelsey achieved precisely the opposite. She remained completely integrated within the company whilst simultaneously creating an unforgettable character. Her chemistry with Gaston was exceptional, especially given the extraordinary circumstances surrounding the last-minute cast change. I sincerely look forward to seeing where your theatrical journey takes you.

Joshua Quinn and Adam Hedges proved to be a wonderfully matched pairing as Lumière and Cogsworth. Their comic timing, vocal performances and playful chemistry created many of the evening's biggest laughs, whilst Kayla Meades delivered a beautifully maternal and instantly recognisable Mrs Potts, full of warmth and reassurance.

A special mention should also go to Bella Kiernan as Madame de la Grande Bouche. Her wonderfully eccentric characterisation provided some delightful comedy throughout the evening, whilst her soaring vocal ability demonstrated remarkable control and range.

The costume department, Suzanne, Cheryl, Anne and Lisa, deserve enormous congratulations. The sheer scale, creativity and professionalism of the costumes elevated the production to another level. One can only imagine the organisation required backstage to manage so many elaborate costume changes, yet everything appeared effortless.

If I were to offer one small observation, it would concern the casting of Maurice. Andrew Would gave a thoroughly convincing and accomplished performance, and this comment should not be interpreted as criticism of his work in any way. However, within a youth theatre company, I would have loved to see another young performer given the opportunity to tackle such a significant principal role. Youth theatre exists to nurture emerging talent, and this felt like one opportunity that perhaps could have been offered to one of the society's younger members.

Finally, I want to return to where I began.

I have never considered myself a "Disney person". Whilst I have always appreciated Disney's storytelling, I have never quite understood the devotion so many people have towards it.

Now I do.

Thornton Cleveleys Youth Theatre didn't simply perform Beauty and the Beast. They made me fall in love with it.

Having previously seen the professional UK touring production, I left the Lowther Pavilion feeling this interpretation connected with me far more deeply. That is perhaps the greatest compliment I can pay everyone involved.

Staying behind after the performance only reinforced everything I had witnessed throughout the evening. Meeting members of the cast, their families and the production team confirmed what had already become abundantly clear. This is not simply a youth theatre company. It is a family. The professionalism, courtesy and genuine pride shown by every young person I spoke to is a testament to the environment that Jen Daniels and her outstanding team have created.

Theatre has the power to entertain, inspire and transform lives. Thornton Cleveleys Youth Theatre achieved all three.

Thank you for your incredibly warm hospitality, for reminding us why youth theatre is so important and, perhaps most surprisingly of all, for helping me discover a newfound appreciation for Disney and Beauty and the Beast. It has been an absolute privilege to witness what can be achieved when passion, dedication and extraordinary attention to detail come together.

I wish everyone involved every success for the future and cannot wait to see what this remarkable company brings to the stage next.

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