Review: DISNEY'S BEAUTY AND THE BEAST THE MUSICAL at Orpheum Theatre Minneapolis

There’s something surreal about sitting in a packed Orpheum Theatre, surrounded by kids in Belle dresses and adults mouthing lyrics under their breath, watching a story you’ve known since forever unfold with so much earnestness it almost disarms you. This new touring production of Beauty and the Beast doesn’t try to rebrand the fairy tale or shake up the formula — and honestly, that might be its smartest move.

Kyra Belle Johnson plays Belle not as a carbon copy of the animated version, but with something a little quieter, a little sharper. She doesn’t oversell anything. You believe she reads a lot of books, you believe she’s tired of small-town condescension, and you believe she’s not remotely impressed by Gaston, which is harder to play than you’d think. Fergie L. Philippe, as the Beast, brings a stillness to the role that works. He’s not snarling and stomping around — there’s more hesitation in him, more confusion. When he finally starts to soften, it feels earned, not scripted.

The show really finds its rhythm in the supporting cast. Stephen Mark Lukas goes full peacock as Gaston, flexing and strutting through every scene like he’s headlining his own action movie. He knows exactly what kind of role he’s in and leans into it hard — it’s ridiculous and perfect. Danny Gardner as Lumière is charming without being too broad, and Javier Ignacio as Cogsworth somehow makes exasperation funny without repeating the same beat. Kathy Voytko’s Mrs. Potts doesn’t try to compete with Angela Lansbury, which is the right choice. She just sings the song and makes it count.

Visually, this is the kind of show that wants to impress you, and it mostly does. The sets are rich, the costumes are pure Disney extravagance, and the lighting design pulls off a few quiet miracles, especially in the transformation at the end. “Be Our Guest” is the moment you expect it to be: big, shiny, and full of choreography that doesn’t let anyone breathe for five minutes. It’s kind of exhausting in the best way.

Not every song lands — the newer numbers added for the stage version still feel like filler, and a couple ballads drift into “bathroom break” territory if you're not emotionally invested. But the cast carries them with enough sincerity that it never drags.

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.

If you’re the kind of person who rolls their eyes at Disney nostalgia, this probably isn’t going to convert you. But if you’re open to being charmed — and maybe a little moved — it might do more than you expect. Beauty and the Beast at the Orpheum doesn’t feel like a reboot or a retread. It feels like a well-told memory, dressed up in gold and light and music.

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