Review: DISNEY'S BEAUTY AND THE BEAST, THE MUSICAL at Fox Cities Performing Arts Center

When Disney’s Beauty and the Beast opened on Broadway in 1994, it marked a turning point not just for Disney Theatrical, but for Broadway itself. Adapted from the 1991 Academy Award-winning animated film, the stage musical was Disney’s bold debut on the Broadway stage.  A timeless spectacle complete with extravagant costumes, sharp and inventive choreography, and Alan Menken’s luscious score, this production made the magic of Disney a permanent fixture on the Great White Way. The original run carried on for 13 years, and tallied nine Tony nominations, quickly establishing itself as one of Broadway’s most beloved shows.

Now, as the original production celebrates 30 years of magic, the tale as old as time has been reimagined for new audiences. Director and choreographer Matt West, who oversaw the original production, returns with a renewed artistic vision. The design team, led by Stanley A. Meyer (scenic design), Ann Hould-Ward (costume design), and Natasha Katz (lighting design), revisits their Tony-winning work with new technology, bringing a modern and unique spark to many foundational moments in this show.

The scenic design by Meyer is one of the best that has been on the touring stage in recent years. The surreal blend of physical set pieces and realistic, Disney-standard projections leaves the audience wondering what is actually there; allowing them to truly believe that each character is dwelling in this colorful world.  The design of the castle allows for transitions that envelop all the grandeur of the show, setting a mood that keeps the audience visually engaged while also allowing performers to navigate the various rooms without a lack of continuity.

Musically, the score remains as captivating as ever. Menken alongside the dearly beloved lyricists Howard Ashman and Tim Rice allow the audience to be immersed in this fictional world through numbers such as “Belle,” “Gaston,” and “Beauty and the Beast”.  Something to be celebrated is that overall, the updated orchestration adds a new level of Disney warmth and Broadway polish. While in general the revised score was delightful and full, there were moments that felt musically rushed, and, at times, it lacked the previous rendition’s gravity.  Right from the start, the audience is given a cheerful mini overture that takes away from the ominous intensity of the original score’s sonorous beginning. The well-known drone still comes, but it lacks importance with the way that it is woven into the orchestral introduction.

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.  The richness of her character is evident from the start and remains a constant until the curtain.  Johnson is not your average “Disney princess”, but a touring talent that is beyond that of many leading ladies.  Watching her take on this role with an equal amount of grit and grace is to be treasured.

One of the lovely changes to the script came with the role of Madame (formerly Madame de la Grande Bouche), the enchanted wardrobe. Holly Ann Butler is a charming and commanding presence in the role. With sparkling comedic capabilities, technically sound vocals, and a captivating stage presence, she brings new life to a character once played mostly for laughs. In this reimagined version, Madame has purpose. A character that was once whimsical and flamboyant, has been recreated to be a woman of heart. Butler gives a refreshingly meaningful performance that leaves you championing her work as the castle matchmaker.

Beauty and the Beast is more than a fairytale. It’s a story rooted in transformation, forgiveness, and the courage to grow through your circumstances. With this revival, it seems that the creative team sought to reimagine the show for a modern audience, one accustomed to grand spectacle and visual flair. While the production was tantalizing to the senses with stunning sights and sounds, some of the newer script choices seem to simplify the storytelling. The characters and emotional beats, once rich with subtlety, now feel more overtly explained, leaving less to the audience’s imagination and intelligence.  

Reflecting on the production, there is certainly no lack of talent.  Disney once again has assembled an elite core of performers from top to bottom. However, as one approaches this revival production, the question remains, “What are you looking for?”  For those who are looking for an updated, 21st century spectacle rendition of a classic tale, this will be everything they need and more.  On the other hand, those yearning for a show that embraced the subtlety, depth, and intensity of the original script might leave feeling that certain aspects of the new production have lost a bit of their truth. While it might seem harsh, as one who appreciated the nuance of the original script and score, it seems appropriate to summarize the production, and particularly the rewrite of the script, with the words of Cogsworth. “If it’s not baroque, don’t fix it.”

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