Review Roundup: BEAUTY AND THE BEAST National Tour

Be Our Guest at Disney’s newly reimagined 30th Anniversary production of BEAUTY AND THE BEAST, the breathtaking musical filled with the romance and grandeur audiences know and love. The new national tour of the iconic musical is now underway. Read the reviews as they come in below!

This enchanting and timeless tale has been brought to life like never before, with spectacular new sets and dazzling costumes. The show boasts the Oscar-winning and Tony Award-nominated score, including the classic songs “Be Our Guest” and “Beauty and the Beast.”

Reuniting to create this new production are members of the original Tony Award-winning artistic team, including composer Alan Menken, lyricist Tim Rice, book writer Linda Woolverton, with direction and choreography by Olivier Award nominee Matt West, scenic design by Stanley A. Meyer, costume design by Ann Hould-Ward and lighting design by Natasha Katz.

Alex Reif, Laughing Place: My take? This version is better than no version. It’s a polished, family-friendly take with some modern updates and impressive tech. But the original Broadway version wasn’t broken, and it toured successfully for years. So if it wasn’t broken… why “fix" it?

Katherine Kiessling, Times Union: Despite all of the reworking, the Disney magic of the original movie and Broadway musical remains. The ballroom scene — considered a marvel in the film for its blend of computer and hand drawn animation — still enchants. When Belle first appears in her yellow ball gown, a collective gasp ripples throughout the audience. The Oscar-winning titular ballad, sung by Kathy Voytko’s warm, nurturing Mrs. Potts, commands rapt attention and reminds us what is at the heart of this story (and of the superb talents of the late lyricist Howard Ashman, who died of AIDS eight months before the original film’s release).

Emily McClanathan, Chicago Tribune: This touring cast features plenty of Broadway talents, including Voytko, a longtime Chicago actor who made headlines in 2021 by stepping in for Sutton Foster last-minute to star opposite Hugh Jackman in “The Music Man.” The most touching casting choice, though, is the late Angela Lansbury as the voice of the prologue narrator. The beloved stage and screen actress, who voiced Mrs. Potts in the original film, died in 2022, shortly after the closing of the West End revival on which this tour is based. When Lansbury’s familiar voice delivers the show’s opening line, “Once upon a time, in a faraway land,” there’s a bittersweet sense of the baton being passed to younger generations of actors, entrusting them with this tale as old as time.

Katy Walsh, The Fourth Walsh: Director and Choreographer Matt West paces this to perfection with the support of his dynamic designers and energetic ensemble! Scenic Designers Stanley A. Meyer (scenic), Natasha Katz (lighting) and Darrel Maloney (Projection/Video) team up to seamlessly take the audience from sunny village to gloomy woods to majestic fortress. The musical number “Be Our Guest” is a showstopper. Ann Hould-Ward (costumes) adds to the colorful spectacle with multiple wardrobe changes. The ensemble go from polished flatware to ruffled skirts to golden top hats. They tap. They kickline. And my favorite, they lay down on the stage. A camera captures their kaleidoscope movements for this mesmerizing dance sequence. West’s stagecraft dazzles! In the finale, Jim Steinmeyer (illusion) gives Philippe a bewitching onstage metamorphosis. In a word… magic!

Alan Bresloff, Around The Town Chicago: Tonight’s opening was spectacular. While the cast appears a little smaller in numbers than previous productions, the talent of the major players and the ensemble is outstanding, making each musical number strong and drawing audience approval that was amazing. There is nothing like a “showstopper” in any production, and in this one “Be Our Guest” had people applauding, cheering and even a few on their feet, and this number is not even the first act finale. It was followed by the amazing “If I Can’t Love Her” sung by The Beast ( a powerful portrayal by Fergie L. Phillippe).

Rachel Weinberg, BroadwayWorld: Whether you’re a millennial like me who grew up watching the original Disney film or you’re looking to take young kids to their first musical, this is a wonderful choice. It’s a visual marvel full of Disney magic. This talented cast bring these canonical characters to the stage in a way that pays homage to the source but also allows their personalities and talents to shine.

Rachel Weinberg, BroadwayWorld: Whether you’re a millennial like me who grew up watching the original Disney film or you’re looking to take young kids to their first musical, this is a wonderful choice. It’s a visual marvel full of Disney magic. This talented cast bring these canonical characters to the stage in a way that pays homage to the source but also allows their personalities and talents to shine.

Catey Sullivan, Chicago Sun Times: “Beauty and the Beast” is far more escapist than revelatory. But with its pleasing score, A-list cast and visuals that make your pupils feel like pinwheels, this production feels ready for a remount on Broadway.

Jared Fessler, BroadwayWorld: Here’s the thing: this production isn’t out to surprise you. It’s not edgy, it’s not ironic, and it’s not reinventing anything. What it does do — maybe better than expected — is lean into the sincerity of the story without making it feel dated. It respects the source material, respects the audience, and lets the emotion speak for itself. There’s a scene where the Beast gives Belle the library, and it’s staged so simply, but it kind of sneaks up on you. That’s the vibe of the whole show. It’s not trying to wow you every second. It’s just telling a story it clearly loves.

Rob Hubbard, Twin Cities Pioneer Press: They spearhead a marvelously memorable waltz about the pub, “Gaston,” only to have it eclipsed back at the castle by an almost overwhelmingly entertaining “Be Our Guest.” For that, choreographer West and the cast employ one impeccably executed vintage dance device after another, from the can-can to kaleidoscopic, Busby Berkeley-style aerial views, concluding in a virtually full-cast tap extravaganza and, on Wednesday night, a partial mid-show standing ovation.

Emily Schenk, BroadwayWorld: This production has to be seen to be believed. I invite anyone who loves Disney and anyone who wants to see real-life magic come to life to head to the Fisher Theater now through October 12.

Karen Rich, City Pulse: Kyra Belle Johnson was born to play Belle — and not just because of her middle name. She strikes the perfect balance between brainy and brave. Opposite her, Fergie L. Philippe gives the Beast real emotional heft. He’s gruff, funny and surprisingly tender. Despite their combined talent, both take a backseat to the immortal Angela Lansbury, whose recorded voice opens the show with the iconic prologue. But really, if you have to play second fiddle to a dead woman, you could do worse than the OG Mrs. Potts.

Jarrod Michael, BroadwayWorld: The standout of the production, without question, is Kyra Belle Johnson. Her character is consistent and direct. Although many personalities in the new script seemed to have significant changes, the role of Belle is tried and true. Johnson’s highlight moment is the song “A Change in Me” in Act Two. Her powerhouse vocals paired with her impeccable technical placement give the audience everything they could want in that moment.

Faith Huey, Post Crescent: As one of the show's main characters, Philippe was a perfect portrayal of a tormented, defensive and lonely beast. His mannerisms were similar to a large cat as he crouched, pounced and charged along the stage, and paired with the incredible costume showing his two large horns and tail, an elongated spine and fur from head to toe, it was impossible to look away from him anytime he was present.

Rowan Bickelhaupt, The Pitch: Kyra Belle Johnson’s Belle had the voice of a true Disney princess: sweet, clear, and distinct from the film’s version while still feeling timeless. She was joyful and curious, especially once Belle showed her obstinate nature. Her act two solo, “A Change in Me”, which seemed both grounded and ethereal, was her most extraordinary vocal performance.

TN Tribune, The Tennessee Tribune: Under the direction of Matt West, this production is filled with a talented and funny cast of Broadway and tour veterans like Javier Ignacio (Cogsworth), Danny Gardner (Lumiere), Kathy Voytko (Mrs. Potts), and Cameron Monroe Thomas (Babette).

Jill Ripa, BroadwayWorld: The joy radiating from everyone in the audience produced an infectious energy, especially the children’s laughter throughout the night. They got quite a kick out of Beast, played by Fergie L. Philippe. If you get a chance to see this touring production, I would highly recommend it. The story will soften your heart, and the magic will take your breath away. There’s nothing so joyful and energizing as watching a stage full of talented and skilled performers pour their hearts out through each step and with each note of such a heartwarming, spectacle-filled, magical production as this!

Sabrina Wallace, BroadwayWorld: Stanley A. Meyer’s set turns like the pages of a storybook caught in a breeze, drifting from the cheerful village to the shadowed castle with cinematic grace. Ann Hould Ward dresses the world in rich jewel tones, instantly familiar yet elevated for the stage. Natasha Katz bathes scenes in deep blues and warm golds that guide mood with a painter’s touch. Darrel Maloney’s projections shimmer just enough to modernize without overwhelming. Matt West’s choreography snaps with clean energy, and the tap number crackles through the audience like a live wire.

Manuel Mendoza, The Dallas Morning News: But the real stars of the show are Danny Gardner (Lumiere), Javier Ignacio (Cogsworth), Kathy Voytko (Mrs. Potts), Cameron Monroe Thomas (Babette) and Holly Ann Butler (Madame) as the Beast’s servants. They provide a large share of the comedy as they suffer through the afflictions imposed upon them.

Brett Cullum, BroadwayWorld: BEAUTY AND THE BEAST has the distinction of being the first staged musical for Disney, and it remains one of the best to get this treatment. This new tour triumphantly amps up the tech, brings in great musical performers for the leads, and raises the bar on the dancing with the ensemble. It’s something to behold, and I can’t imagine anyone not having a wonderful time revisiting this story of two oddballs finding each other in a fairy tale setting.

D.L. Groover, Houston Press: This is family entertainment the Disney way, if a tad under populated. A chorus line of 12 doesn’t fill a tavern or serve up a convincing phantasmagorical dinner scene for “Be Our Guest,” no matter how many times the hard working dancers change costumes. But West’s tap dance extravaganza, a new number for this tour, works overtime to entertain us and eventually succeeds with giant forks and spoons rolled on stage, dinner plates rimmed with lights, everybody hoofin’ up a storm, and a streamer cannonade at the finale. It would be a great end to Act I. But no, it goes on.

Lillie-Beth Brinkman, The Journal Record: The national touring production of “Beauty and the Beast” brings every bit of the classic story’s sparkle, joy, magic, music and color to downtown Oklahoma City this week. And audiences loved it, with many cheering and standing after several songs and dances in addition to the curtain call at the end.

Allyssa Reeder, Tulsa People: Everything was grand from the very beginning: the costuming, the characterizations, the dancing, the singing. Belle was adorable and her voice was so strong. The night I attended, Belle was played by understudy Grace Marie Rusnica, making her national tour debut. I loved everything about how she played my beloved Belle from her voice to her body language, and even the kindness in her eyes. She really brought life to the character I’ve been connected to for so long.

Alexis Papalia, Trib Live: Johnson has the songbird trill of a Disney princess with a richness to her voice that makes songs such as Act Two’s “A Change in Me” soar. Her delivery is often sincere, but she also delivers a wryness that shows off Belle’s wit. Philippe’s Beast is extremely human. He possesses a beguiling innocence that makes him more believable as scared than as scary. And we can’t forget our charming castle subjects/objects, who often steal the show. Javier Ignacio as Cogsworth, Kathy Voytko as Mrs. Potts and especially Ben Sears as Lumiere illuminate the dreary castle with humor and warmth.

Taylor Clemons, BroadwayWorld: The cast is vocally very strong, Johnson’s Belle is truly wonderful. She has the tenderness yet fiery nature of the character, and her voice (especially in the 11 o’clock number “Change In Me”) was stunning. Philippe’s Beast was also great. In a big surprise to me, he found many wonderful comedic moments, and the act one closer “If I can’t love her” was a highlight as well.

Rachael F. Goldberg, BroadwayWorld: 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.

Christopher Arnott, Hartford Courant: The characters are colorfully dressed but also comfortably. Their hair is teased amusingly, but they generally don’t wear over-the-top wigs or silly hats. As Belle’s inventor dad Maurice, Kevin Ligon (who played Herr Schultz in “Cabaret” at the Goodspeed Opera House three years ago and was in the world premiere of “Anastasia” at Hartford Stage in 2016) gives a laid-back performance in a scruffy beard that doesn’t look like it was drawn on his face by a cartoonist, and is dressed as if he might actually have wandered in from the forest. The most cartoonish moments are the animated projections of glaring eyeballs and lightning bolts in the dark woods outside the castle. And that’s clearly a balanced decision not to make the scene too scary for small children. Many shows adapted from animated films or TV shows have tried to find the right line between human and cartoon. Some, like “The Spongebob Squarepants Musical,” stray too far in the raw reality direction while others like “Aladdin” overdo the design and the opulence. This “Beauty and the Beast” has just the right balance.

The Marriage Matinee, BroadwayWorld: This Beauty and the Beast isn’t just a retelling: it’s a celebration of what makes live theater so special. With its dazzling visuals, committed performances, and joyful tone, it’s a production that fully earns its standing ovation.

Lisa Gauthier Mitchison, Nuvo: The new touring production of Disney’s “Beauty and the Beast” -- the first North American touring production of the musical presented by Disney in over 25 years -- is a refreshed version of the 1994 musical that holds onto the music, characters, HEA, and icons that audiences have cherished for years.

Akhilesh Peddi, The Badger Herald: “Beauty and the Beast” catered to both the adults and children present. Its flashing, bright and captivating sets with pink curtains, flying ribbons and flashing lights engaged not only the children, but also the adults. During the show, at the climax of the “Be our Guest” musical number, when ribbons burst and showered the audience, not only were the children thrilled, but so were many adults who wore the ribbons around their necks.

Scott Rawson, BroadwayWorld: Mostly the magic, however comes from the uber talented cast. We begin with the innocently beautiful vocals of Kyra Belle Johnson, portraying Belle. Watching her transform from a naive small town girl to an empowered woman standing up for herself and those she cares about was a joy.

Alan Sherrod, Arts Knoxville: West’s creative team of designers know exactly how to augment the story with a colorful kinetic environment. Scenic Designer Stanley A. Meyer, lighting designer Natasha Katz, and video projections by Darrel Maloney keep the narrative moving from village, to forest, to castle. Ann Hould-Ward’s costumes (costumes) add to this visual narrative and character delineation. But perhaps the most fun visual effect is an overhead camera capturing a Busby Berkeley-esque kaleidoscopic dance sequence.

Cathy Cobbs, Rough Draft: The voices of the cast, especially Harry Francis as Lefou, Stephen Mark Lukas as the villain Gaston, Belle, played by Kyra Belle Johnson, and the Beast, Caleb McArthur, were eerily identical to those of the 1991 movie – especially for a veteran watcher like me, who has seen the movie an untold number of times with my now-grown daughter.

Average Rating: 85.8%