Review: BEAUTY AND THE BEAST Displays the Talent at Bosque School

I suppose it's somewhat unfair to review a middle/high school production-Bosque School's Beauty and the Beast-because in an educational environment like that, the students don't need the same scrutiny I'd give a community or equity theater show. In fact, unauthorized criticism may be harmful to the safe creative space that students need to learn. Nevertheless, here I am, hoping that instead of disparaging the students, I may contribute to their experience with an offering of feedback. Besides, the show was excellent work.

The production value was extraordinary, and it's clear why: Director Marina Sage paid great attention to detail and presentation, in coordination with almost all the school's fine arts' teachers--tech director Michael VeSeart, music leader Shelly Andes, choreographer Susan Dormer, and many more. Sage and her team of teachers led a small army of students: Tech classes, tech club, the ensemble, the box office, the set runners, etc. Then, behind this student army was a reserve army of involved parents and family who helped with programs, snacks, art design...all of this contributed to the quality of the show, and these were just the human resources.

Bosque school employed their armies for boisterous dance numbers, large and ornate sets, and dazzlingly beautiful costumes and props. Yet some of this abundant quality seemed excessive-a problem most clearly illustrated by the set, which was two sets, really: The Beast's Castle, and the Village. Each was incredibly well-done, with multiple levels and dimensions. Yet, with every scene change, a frantic team of technicians had to completely replace the Castle with the Village, and then vice versa for the next scene change--again and again, throughout the entire play. No matter how the team hustled, these scene changes each lasted three pace-destroying minutes.

Why were two full sets necessary? Why not two half-sets?

After all, Bosque's best resource is not its stuff, but it's talent-the ensemble. The majority of the cast was in middle school, and for some, this was their first time on stage. Yet, except by height and vocal register, I could hardly tell who was in middle school and who in high school, because they blended so harmoniously. Indeed, one of the best actors was only in 8th grade: Grace Cordova who played Gaston's weasel sidekick LeFou--not only did she play her own part with comedic timing and strong character, but her lively charisma also helped lead the chorus and support Gaston's performance with bubbly chemistry.

The high schoolers, meanwhile, were well-developed and controlled: Zach Carpenter as the forcefully confident Gaston; Isabel Daninger who offered a poised and relatable Belle; Trent Llewellyn who maintained a hilarious but believable French accent as Lumiere (and whose stunning countertenor floated effortlessly through "Be Our Guest").

There were problems in the show, mainly stemming from an over-extravagance of scenery and costumes. The Beast's hairy mask frequently blocked Daniel Ohiri's face, obscuring the impact of his brooding, intense performance. The actors, as if reluctant to approach the gorgeous scenery, played most of the action downstage in front of the set. Perhaps with more minimal scenery, the actors would have relied more on their imaginations-as when the Beast showed Belle his library, instead of clinging to the set's one small material bookshelf, she could've expressed her wonder toward the fourth wall, at a much larger library within her imagination.

So the production value was great. So much so, the show became a bit exorbitant. Yes, the point of the high school musical is to get every department involved for a big-bash exposition of skill and craft. But the show could've relied more on the talent than the trappings, and done just fine.

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