If you think Disney musicals aren’t your thing, a ticket to 'Beauty And The Beast'’s current theatrical production could prove mind-altering and life-changing – if you’re lucky enough to nab one.
It takes just four little words to transport us to a fairy tale world. From the moment Angela Lansbury’s recorded narration begins “Once upon a time. . .” we know we’re in for a good one, as the phenomenal orchestra begins to swell.
Mere seconds in, the first in a series of impressive magical illusions occur in quick succession (thanks to none other than those who design David Copperfield’s). Blink and you could miss the wizardry that turns a hunched old woman into a young enchanting sorceress soaring high above the stage, and the moment her spell turns the Prince into The Beast.
Scene change from the dark castle to the sunny village and we meet the colourful chorus of villagers and beauty Belle. Book nerds rejoice, she is one of us! Having previously played Jasmine in 'Aladdin', our own WAAPA-trained Shubshri Kandiah’s Disney princess is on point.
We learn from her song, the inventor’s daughter yearns for more than small town life, so it’s unfortunate Belle’s tall, dark and handsome pursuer Gaston – the character Hugh Jackman played in ’95 – is a douchebag. With a sh.t-eating grin and Jim Carrey energy, Jackson Head’s version is scene-stealing, while sidekick LeFou (Adam DiMartino) gives Frank Woodley vibes.
From Belle’s quaint village cottage, the impeccable stage design transports us deep within the woods where, riding one of his inventions, Belle’s father is lost.
Image © Daniel Boud
The layered visual effects, lighting, and searing orchestral score and sound design have us all on the edge of our seats – none more so than my date for the night, experiencing this ‘tale as old as time’ for the very first time.
Giant ornately-carved set pieces shape-shift into place, signifying the grand castle materialising from the surrounding woodland, shifting our perspective seamlessly from the dark night outside, to the castle’s mysterious and cavernous interior.
Herein things get magical once more, with The Beast’s servants Cogsworth (Gareth Jacobs) and Lumiere (Rohan Browne) – who the spell turned into a clock and candelabra – lightening the mood; quite literally in the case of the latter with (real flame) candles for hands!
How fitting, the beastly Prince objectifying the sorceress led her to object-ify everyone in the castle. It took a moment though to recall that the character Babette personified a feather duster – something about the outfit was serving ‘lamp’, but that’s the only costume question mark in the show’s glorious styling. And Hayley Martin’s embodiment of the feathered French maid is magnifique.
Crowd favourites Mrs Potts (the teapot, played by Jayde Westaby) and son Chip (played by one of a handful of kids each night) do not disappoint, with her charming warmth and his adorable delivery keeping us enraptured with every appearance and intrigued by the trickery disguising the kid within the tea trolley, so their face alone brings the teacup to life.
Image © Daniel Boud
But it’s the huge all-in musical numbers that showcase the mastery of a Disney production, where cast, crew and creative teams combine their powers to produce well-oiled perfection.
From Gaston’s self-aggrandising bar room orgy (not literally – it’s a family show – in terms of a group ego-stroke), serenading his own brilliance, complete with beer stein percussion; to the epic, golden age of Hollywood-inspired leggy high-kicking fan fave ‘Be Our Guest’ (with overhead cameras projecting the synchronised floor choreography), the ensemble excels.
And just as the story lends Brendan Xavier some moments to shine in his titular role as The Beast, revealing some of the character’s vulnerabilities, it’s time for interval.
My friend asks “Is there more?”. “So much more!” I answer, to his delightful anticipation.
Does Belle rescue her father? Does she fall for The Beast in the process? Or do the villagers hunt and kill The Beast, led by Gaston who Belle marries instead? If you know, you already know, but it’s still one helluva rollicking ride. Or, in my first-time viewing partner’s words, “the best night of entertainment I’ve enjoyed in ages”.
Suitable for all ages (everyone from babes in arms to octogenarians attended night one), the show’s allegory of acceptance regardless of difference remains pertinent as ever. Characters triumphing despite the structures that exist to hold them back never gets old, and taking agency over one’s destiny is a message worth promoting at, and to, any age – specially delivered in a package that looks, and sounds, and feels as good as this production.
Certain as the sun rises in the east, this final leg of the show’s Australian tour is sure to be a beauty.
Words: Dianah Star
