Review: DISNEY'S BEAUTY AND THE BEAST at The National Theatre

Like many millennials, the Disney Renaissance of the 1980s and 90s was a formative part of my childhood, and 1991’s Beauty and the Beast, an adaptation of the eighteenth-century French fairy tale, was a particular favorite of mine as a young bookworm in a small community. The beautiful – and often funny – tale of the transformative power of love and compassion was widely praised upon its release, going on to become the first animated film to be nominated for an Oscar for Best Picture. It’s hardly surprising that Disney would turn this success to a live stage production, premiering on Broadway in 1994 and kicking off Disney’s continued dominant presence on Broadway, the West End, and touring companies around the world. The production ran on Broadway for thirteen years, earning the distinction of the sixth-longest running show at the time of its closure (it’s currently still holding firm as the eleventh-longest in Broadway history).

            For those who didn’t wear out your VHS copies, attend the Broadway production three times, visit the stage attraction at Disney World repeatedly, or even chance the 2017 live adaptation: the tale opens with a vain and selfish prince, who refuses shelter to an old beggar woman with only an enchanted rose to offer, only to discover she’s an enchantress in disguise. The enchantress lays a curse on the castle, turning the prince into a beast and his servants into household objects; to break the spell, the prince must learn to love someone and earn their love in return before the last petal of the rose falls. Years later, Belle struggles with her status as an outcast in her small town due to her “odd” inventor father and her own preference for books over the chauvinistic town heartthrob, Gaston. When Belle’s father, Maurice, loses his way in the woods and ends up at the castle, he’s taken prisoner by the Beast, but Belle offers herself in exchange for her ailing father. The servants hope she’ll be the one to break the spell, though Belle’s strong will often clashes with the Beast’s temper. Over time, the two grow to respect each other, and eventually fall in love, though the Beast releases Belle so she can tend to her father. Upon her return, she discovers Gaston is still scheming to marry her, and her attempts to corroborate her father’s story about a beast in a castle backfire when Gaston gathers an angry mob to attack the Beast and his servants. Belle intervenes as the Beast and Gaston fight, convincing the Beast to spare the man’s life, but Gaston stabs the Beast before losing his balance and falling to his death. As the Beast lays dying, Belle professes her love for him, breaking the curse and reviving him for their happily ever after.

            The stage production of Disney's Beauty and the Beast features the beloved songs from the animated movie, written by Alan Menken and his lyricist Howard Ashman (who passed away before the film was released), with a few new additions, including Belle’s running refrain of “Home,” and the Beast’s ballad, “If I Can’t Love Her,” composed in partnership with Tim Rice. Matt West’s choreography works to adapt the animated version to the live stage, incorporating Belle into the show-stopping “Be Our Guest” and nodding at traditional dance styles from the eighteenth century for the iconic computer-generated ballroom scene. The show was nominated for a handful of awards in the 1994 season, acknowledging its book, direction, score, lighting, and effects, though ultimately it only walked away with Tony and Hewes Award wins for Ann Hould-Ward’s costume designs.

            What makes the current tour production of Disney's Beauty and the Beast, which opened at The National Theatre this week, particularly enchanting is that it carries with it not only this legacy, but many of the original creative elements. West has taken the helm as director in addition to reviving his choreography, and has brought many of the original designers along with him, including Hould-Ward (costumes), Natasha Katz (Lighting), Michael Kosarin (Music Director & Conductor of the 1994 production; now Music Supervisor), David H. Lawrence (Hair & Make-up Design), Stanley A. Meyer (Scenic Design), and Jim Steinmeyer (Illusion Design). The team, in turn, has updated their works, leaning a little more into the animated roots the original staging sought to distinguish itself from; the new costumes and lighting designs are more colorful and dynamic, and projections (an addition from Darrel Maloney) incorporate animated elements for scenes in the woods and even some of the original film’s backgrounds. Linda Woolverton’s book is mostly intact, but there are a few subtle modern updates, slipped in as unobtrusive and fun nods at newer audiences.

            There are, however, moments where the necessities of a touring production – limited set pieces that sometimes leave the stage feeling imbalanced, projections that sometimes overshadow the performers – and the strain of the road do detract a bit from the new production. The company often starts bigger numbers (like “Gaston” and “Be Our Guest”) a bit slower, picking up momentum in a way that feels less like a musical buildup and more like they’re still building comfort with the routines, despite the production entering its ninth month on tour. There are also a few choices that diminish the magic a bit – Belle’s new dress design is more evocative of Dorothy Gale and her hair extensions are noticeably a different shade than the performer’s main wig, there’s an overreliance on effects over stage work (the cup choreography in “Gaston” didn’t align with the sound, which is a shame because the practical effect was a standout component of the original production), and there’s an inexplicable decision to include Impressionist paintings in the projected backgrounds (a century or so ahead of the movement). Perhaps most concerning is that Fergie L. Philippe’s Beast feels woefully underutilized, especially in Act I, diminishing both his ballad and his character arc from menacing presence to love interest.

            Despite all this, the show still has enough heart and Disney magic to it to enchant the audience. There’s a reason the 1994 production set off a dynasty of Disney stage adaptations and that this tour has been so anticipated, and it’s clear that the show excels where it counts, particularly in the performances themselves.

            The ensemble as a whole seems to be genuinely having fun, and this effervescence translates to something infectious from the opening notes of the introductory number, “Belle,” through to the finale. The main servants in Beast’s castle – Lumiere (Danny Gardner), Cogsworth (Javier Ignacio), Mrs. Potts (Kathy Voytko), Babette (performed for the show reviewed by the delightful understudy, Melaina Rairamo, though normally portrayed by Cameron Monroe Thomas), and Madame (Holly Ann Butler) – are each strong and entertaining performers in their own right, but the dynamic they bring together, especially in pairs (Gardner & Ignacio and Voytko & Butler, in particular), is outstanding, and often feels like the core of the show. These performers help move the story along while delivering sly one-liners with a wit that unfailingly pulls laughter, even for groan-worthy puns from the original film (“If it’s not Baroque, don’t fix it!”). Harry Francis’ Lefou, as Gaston’s hapless sidekick, has an almost innocent level of simplicity in his portrayal, missing the meanness often seen in the character, but no less culpable. Kevin Ligon’s Maurice is a bit more grounded than his animated counterpart, but his affection for Belle shines in each moment he’s on stage. As the vain and menacing Gaston, Stephen Mark Lukas occasionally threatens to steal the show (if not the girl), and it’s immensely entertaining to watch him try; the actor is clearly having a blast playing this all-too-realistic villain, and it’s delightful to watch him strut around the stage as he unsuccessfully schemes.

            As the titular leads, Kyra Belle Johnson and Fergie L. Philippe shoulder tremendous responsibility in their roles, but they both rise to the occasion with aplomb. Philippe, as previously mentioned, feels a bit restrained by the staging, particularly in Act I when his menace is conveyed through absence and voiceovers rather than allowing him to physically stalk the stage, though the rare moments he does are fantastic bits of physicality. When he’s allowed to let go – to lean into the character, to sing instead of easing in with musical talking – his performance opens beautifully, and it’s joyous to watch the Beast’s transformation, long before the (albeit impressive) magical one occurs. As Belle, Johnson faces an even steeper battle, risking comparisons to the movie’s Paige O’Hara or Original Broadway Belle Susan Eagan, who still performs numbers from the show regularly, yet Johnson’s powerful voice and solid delivery show she understands and embodies the character completely, easily captivating the audience with her portrayal of the beloved Disney princess. Together, Philippe and Johnson also have a wonderful chemistry that lends a verisimilitude to Belle and Beast’s evolving relationship, and it’s a joy to watch them reach their happy ending together.

            While the current production may have its flaws (as the original did as well), what works most in its favor is its sincere love for the story it is telling. Beauty and the Beast is a cherished tale, and it’s wonderful to see a production that honors that with care and joy while helping bring the story to new and returning audiences alike. So relax, pull up a chair, and enjoy the show.

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