Disney magic is always an unparalleled theatrical experience.
‘Beauty And The Beast The Musical’ carries this on – it’s a slick, polished production running like a well-oiled machine. . . Set pieces gliding up and down the stage, choreography perfectly in sync, music filling Melbourne’s Her Majesty’s Theatre with emotion and excitement.
The musical’s opening theme – a swirling arrangement loaded with dramatic piano, melancholic strings, and suspenseful percussion – is simply iconic. Perhaps one of Disney’s best – setting the scene for a story of love, friendship, family, and the life lesson of not judging a book by its cover. The visual magic begins almost immediately, via a dream-like introduction telling the story of a judgemental prince doomed to live life in the body of a beast, as punishment for his superficial assessment of a beggar woman seeking shelter at his castle.
What follows is a showcase of sheer delight. Numbers like ‘Belle’, ‘Gaston’ and ‘Be Our Guest’ pack huge punches for act one, with a swift, agile cast of performers up for the task of carrying out mesmerising choreography and stage blocking.
The castle’s motley crew of (in)animate objects is just wonderful. Rohan Browne’s Lumiere is enhanced by the French accent which, if it wasn’t so delightful and hilarious, would be terrible; Gareth Jacobs fits Cogsworth perfectly as the stiff upper lip of the gang who eventually loosens up; Hayley Martin dazzles and captivates as the charming Babette; Alana Tranter brings the Cupid-like optimism of Madame to the castle; and, the highlight of this collection of characters has got to be Jayde Westaby’s Mrs Potts – a wise, warm, kind character with all those beautiful, motherly qualities. You just want to give her a cuddle.
Image © Daniel Boud
It would be completely remiss of me not to give a special mention to Zanda Wilkinson as Chip, Mrs Potts’ son, who melts the entire audience into a puddle with the simplest of lines. Jayde and Zanda as mother and son are gorgeous. . . The end of the show providing a particularly emotional moment between them.
Rodney Dobson is convincing in his portrayal of Maurice – a man who could either be completely crazy or just wildly passionate about his work. . . Depending on who you ask.
Nick Cox’s Le Fou is just as much of a pushover and sidekick as he needs to be here. . . Providing all the hallmarks of hopelessness that the likes of Jesse Corti and Josh Gad brought to the role before him.
The role of Gaston feels like a tough one – you need to strike a balance between being a genuinely menacing presence but also being camp, superfluously vain, and downright ridiculous. How does one juggle all of these characteristics and make each one as convincing as the last? Ask Rubin Matters. His portrayal is faultless, giving the role everything it needs to split the sides of the audiences in one moment and terrify them the next.
Brendan Xavier communicated the softer side of Beast well – showing his eventual remorse and willingness to learn well. But his more ‘beastly’ side. . . The side we see intimidating his staff and cruelly imprisoning Maurice and Belle, could have been heightened. This said however, ‘Beauty And The Beast’ is a show for all ages, so perhaps he is written a little less alarming here. . . It’s one thing to see a terrifying beast in cartoon on a screen, and another in front of your eyes, in the flesh.
Image © Daniel Boud
Shubshri Kandiah is a fantastic Belle. While her vocal delivery in the musical numbers feels more head voice-driven than falsetto-driven, she performs excellently and conveys that whimsy and lust for exploration and discovery. She speaks with the almost musical tones of a classic Disney Princess and brings an infectious dynamism with her each time she appears on stage.
Staging, set design and lighting are all, expectedly, top notch and impossible to criticise. ‘Be Our Guest’ is, in this reviewer’s opinion, the highlight of the entire musical – a mini cabaret show in itself, featuring choreography and ensemble movements reminiscent of old Hollywood, dazzling colours and patterns. . . A complete feast for the eyes and ears: appropriate, given the subject matter of this number. ‘Gaston’ closely follows in my ranking – another stunning display of the seemingly endless talents of this cast triggering an extended applause and even a few throughout the audience standing to show their heightened appreciation.
Costuming is also a total win – the castle staff adorned with materials and shapes that truly convince the audience of the fact that Mrs Potts IS a teapot. . . Lumiere IS a candelabra. . . Cogsworth IS a clock. . . And so on. Plus, there’s something really overwhelming about the tableau of Belle appearing in a yellow gown and Beast in a blue suit being enough to trigger a rapturous applause throughout the theatre, that is a slice of Disney magic in itself.
There’s no denying – especially when you’re in the audience of ‘Beauty And The Beast The Musical’ – that this story has lived in the hearts of so many, for so long. . . To be given an opportunity to experience it in a fresh way (which brings shimmering new life while retaining the nostalgia of the animated film) is a total honour.
★★★★☆
