Beauty and the Beast – REVIEW
Image: Shubshri Kandiah and Brendan Xavier in Disney's BEAUTY AND THE BEAST. Photo: Daniel Boud
It may still be a tale as old as time, however, the technical elements in this new production of Beauty and the Beast make it feel almost futuristic. With a luminary cast, stellar creative team and stupefying costume and stage design, this is a show that will make you believe in magic.
Disney’s 1991 animated feature was adapted for the stage in 1994 and went on to become one of the most successful stage productions in Broadway history, playing continuously until 2007. In 2019, Beauty and the Beast returned to the Broadway stage in the shiny, revamped version that is currently touring.
Shubshri Kandiah plays Belle, adding to her CV of fairytale characters after having played the lead in Cinderella, and Cinderella again in Into The Woods. It’s easy to see why – she has a charming, expressive face, and other-worldly voice.
Brendan Xavier as the Prince turned into a Beast is not quite as fierce and menacing as the character is made out to be. His voice is pleasant, his appearance is rugged but he is more petulant than aggressive.
Gaston (played on opening night by Jackson Head) on the other hand is sinister. Comically vain and arrogant in the first half, he becomes positively evil after he is spurned by Belle in favour of the Beast. Head chews up the scenery whenever he’s on stage.
It’s the palace staff — victims of the same spell that turned the Prince into a Beast —who are most exciting when they appear. Rohan Browne is delightfully gregarious as Lumiere, the castle maitre’d turned into a candelabra. Gareth Jacobs is camp and pompous as the majordomo who is now a clock.
Hayley Martin is Babette, the curvaceous maid turned into a feather duster, and Alana Tranter has natural comic energy as Madame, a wardrobe who was formerly an illustrious opera singer.
Jayde Westaby is warm, motherly and a joy when she’s on stage. She plays Mrs Potts, the head of kitchen who is now a tea-pot. Extracting an appreciative laugh whenever he comes on is Chip (Orlando Steiner on this night), Mrs Potts young son who is a tea cup and always appears on a tea trolley.
The story itself has little depth or complexity and the script has some laughs but is mostly serviceable. Even the songs are middling. It’s the performances by the cast and, moreover, the unbelievable set, lighting, choreography and effects that really make this an unmissable experience.
There are some dazzling illusions that evince a universal gasp from the audience. There’s lightning all around the theatre; there are stunningly swift scene and costume changes; and there are special effects and laser projections that take this beyond your standard musical.
Two numbers stand out for their choreography and effects. “Gaston” is a rollicking all-in routine that has elements of opera-styled ensemble scenes in a tavern. There is some precision tin-cup clinking and great one-liners in this rambunctious number.
The other, of course, is “Be Our Guest” which is an incredible kaleidoscope (literally) of colour and dance which in some parts conspicuously pays homage to the early Hollywood choreography and director, Busby Berkeley. In fact, this scene got its own standing ovation.
Also receiving their own applause are some of the costumes, in particular, Belle’s spectacular yellow gown near the end.
This is a sumptuous show with breathless visuals, a gorgeous cast, and stunning illusions — believe the hype.
