Review: Hale Centre Theatre's BEAUTY AND THE BEAST is Innovative

Disney's BEAUTY AND THE BEAST at Hale Centre Theatre in West Valley is familiar enough to feel comfortable but innovative enough to bring new thoughts and emotions to the forefront.

DISNEY'S BEAUTY AND THE BEAST (music by Alan Menken, lyrics by Howard Ashman and Tim Rice, book by Linda Woolverton) is based on the classic Disney animated film. When a prince is transformed into a beast because of his selfishness, he must learn to love another and earn her love in return. When the beautiful, brainy Belle finds herself in the Beast's enchanted castle through unexpected circumstances, she and we discover that true beauty comes from within.

The well-loved story and songs from the movie are all there and expanded, along with wonderful Broadway additions such as "If I Can't Love Her," "Home," and "A Change In Me," which even trump the original songs with their melodies and heart.

One of the most special aspects of this particular production is the enchanting puppetry that brings to life animals and other characters, reproducing memorable visuals from the animated film in a way that hasn't previously been done onstage.

Two scenes that combine ravishing design with tear-inducing sentiment are the Act I closer "If I Can't Love Her," which lavishes lighting and scenic effects in a way that both highlights and fosters the Beast's emotional journey, and the scene immediately following the title song, in which the Beast and Belle (clad in magnificent costumes and surrounded by exquisite chandeliers) realize that they must part ways. These and other moments equally mesmerize the senses and the soul.

The most refreshing element of this production is its treatment of the Beast as a character. Rather than the traditional gruff miser, he is presented as a petulant youth--much more in line with the selfish young prince of the prologue. The age-appropriate casting, as well as the outstanding performance of Jon Rose as the Beast (double cast with Austin Smith), accentuate the Beast's journey in new ways that result in many emotionally resonant scenes. On the other hand, this approach renders the Beast too tame to believably arouse fear in his important menacing scenes early in the story.

Amelia Rose Moore (double cast with Karina Gillette) brings a softness and strength to Belle. Adam Dietlein (double cast with Quinn Dietlein) recently played the role of Gaston in the international tour of the show and for good reason, as he seems born to play the role.

Additional memorable cast members include Trevor Dean as Lefou (double cast with Thomas Brandley), Bryan Dayley as Monsier D'Arque (double cast with Nate Brogan), Ric Starnes as Maurice (double cast with Kevin Cottam), David Glaittli as Lumiere (double cast with Addison Welch), Clin Eaton as Cogsworth (double cast with Zac Zumbrunnen), Diana Dayley Bowler as Mrs. Potts (double cast with Kim Allen Tolman), and William Smith as Chip (double cast with Cameron Dietlein).

Directed by John Sweeney, the production design echoes some of the best elements of his deservedly lauded Hale Centre Theatre productions of THE LITTLE MERMAID and CHITTY CHITTY BANG BANG. Many of the scenes are equally sumptuous, with pink and blue pastels at the forefront and clever integrations of actors with the furniture pieces.

The production team has done great work here, including set designer by Kacey Udy, technical engineering manager Rob Kinmont, properties designer Michelle Jensen, lighting designer Adam Flitton, costume designer Jenn Taylor, and hair and makeup designer Krissa Lent. Special mention is deserved by prosthetics designer Eric Clark, who created a realistic and fitting look for the Beast.

Although the production has much to be praised, a few items keep it from being an unqualified success. First, the actors seem to have been encouraged to ad lib lines, which has resulted in clearly audible exchanges that do serve well the stage business they've been given but that are not in the script. Second, the wolves are portrayed by dancers rather than through puppetry, as are all other animals in the show. The fact that puppets are not used in these scenes is an enormous missed opportunity. Third, a number of technical and other errors marred the reviewed performance (quite uncharacteristic of this theatre company). Lastly, the production itself feels disjointed due to a lack of a unifying set along the sides of the stage and entrances. There are many extremely impressive set pieces used throughout, but they do not come together as a cohesive whole, and when they are not in use, the stage feels bare (again, uncharacteristic).

Regardless, whether this is the first time you've seen BEAUTY AND THE BEAST or whether you've seen it dozens of times, you will be sure to find plenty to love about this iteration of the "tale as old as time."

BEAUTY AND THE BEAST plays through October 1, 2016. For tickets, call the box office at 801-984-9000 or visit www.halecentretheatre.org.

Photo Credit: L-R Amelia Rose Moore (Belle) and Jon Rose (Beast)

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