Review: Disney's BEAUTY AND THE BEAST Ultimately Grabs The Heart

Yes, BEAUTY AND THE BEAST is a tale as old as time and most of us know the details, but let us recap: a handsome but arrogant prince refuses to help an ugly crone who dares to come to his door asking for help. Upon the prince's refusal to give aid, the crone turns into a beautiful enchantress who curses him into a beastly form, complete with horns and fangs. The antidote? He must love and be loved. A tall order for an unattractive animal-human with a temperamental personality.

Enter Belle. She is the smart girl's princess; she's not looking to be rescued, she loves to read, and by the way, she's a brunette! Belle represents intelligent goodness as she makes sacrifices for her father and refuses to fall into the clutches of the resident hunk, Gaston. When Belle's father is imprisoned in the beast's castle, Belle trades places with him, ensuring her father's freedom while sacrificing her own. Can Belle help the beast break the spell? Can she love him in spite of his appearance?

This is the core theme of the story: looking beyond appearances to see the beauty within others. It's a relevant theme for our time, what with endless selfies, photoshopping and plastic surgery run amok. That inner beauty is real and lasting is a message that hopefully permeates the hearts of kids in attendance as well as the adults who take them to see this show.

With a book by Linda Woolverton and directed by Rob Roth, Disney's BEAUTY AND THE BEAST is a show that slowly builds up to its impact. The first half of the show grows into the theatrical powerhouse it's meant to be by the second act. The first thirty minutes of the show are a little too predictable, and a little too "kiddie theatre". You can see the jokes coming from a mile away and there is something too forced and presentational about the way the characters interact. The cast is peppered with solid performers and good character actors, but sometimes the book is a little fluffy, even for Disney. Nonetheless, the set design and lighting are primo from start to finish, and set designer Stanley A. Meyer and lighting designer Natasha Katz deserve their own round of applause for creating a visually moody and romantic world that captivates the eye.

With music by Alan Menken and lyrics by Howard Ashman and Tim Rice, the show includes a mix of songs from the animated classic and new tunes added for the Broadway production. "Belle" is a big number with characters coming and going, introducing us to our heroine. As Belle, Brooke Quintana is a little tentative in the first act, but has a kind, subtly sweet energy that works for the role. As the show progresses Quintana seems to gain more intensity and energy and her pretty voice finds it's way into truly gorgeous singing in the second act.

The rousing comedic number "Gaston" gives the show a kick in the pants, with fun "beer mug" choreography and excellent performances by the company. While Christiaan Smith-Kotlarek is a strong singer and has the narcissistic beau-hunk bit down pat, the physical violence between he and Lefou, played by Matt DaSilva, gets old fast. DaSilva struggles with the lower notes in the song and is saddled with comedic bits that really aren't that funny.

"Be Our Guest" catapults us into the theatrical real deal, with special effects, classic chorus line choreography and streamers shooting into the air. Ryan N. Phillips has a great time as the ever-randy Lumiere, and the company is sky-high with energy in this crowd pleaser. But who knew that silverware could get wedgies? The gold leotards sported by the forks and spoons could use a little lengthening. Other than that, costumes by Ann Hould-Ward are top notch and follow the mood and story arc of the show with finesse.

At the end of the first act Sam Hartley, playing the beast, sings "If I Can't Love Her", a song not found in the animated feature. The song is gorgeous and Hartley's voice is sublime, warm and powerful. There are many good tunes in BEAUTY AND THE BEAST and it's no secret that Alan Menken, Howard Ashman, and Tim Rice are a dream team in many ways.

Highlights of the second act include the catchy "Something There", a song in which the cursed castle staff plot and hope that Belle can undo the spell. "Human Again" is a lovely piece of longing in which the inhabitants of the castle dream of returning to their human forms. Vocals by Stephanie Harter Gilmore (Madame de la Grande Bouche) and Stephanie Gray (Mrs. Potts) are especially scintillating in this tune. This leads into the romantic pinnacle of the show, "Beauty And The Beast", beautifully sung by Stephanie Gray. If the show hasn't wiggled it's way into your heart by this point you might want to check your pulse. There's something so poignant about this iconic scene. It's the yellow ballgown, the ironic vulnerability of the beast, the fact that the two people trust each other when they have no reason to...it all adds up to a scene that moves me every time.

"A Change In Me" is a pensive song about changing yourself to be able to see the good in others. It could go into a gag-fest really fast, but it doesn't. Quintana means every word she sings and it's an extension on the theme of looking beyond the outer surface of people.

Arguably the most compelling moment of the show is the transformation scene in which the beast turns back into his princely form. The special effects and lighting make for an impressive visual feat.

"I wonder if the prince is going to be cute," my daughter whispered, as we watched the spectacle.

I wondered, too. Is there a Calvin Klein model hiding under that beastly costume? No, as it turns out the prince is not especially cute. He does not look like a model.

And then it hit me.

He doesn't need to look like a model, Calvin Klein's or otherwise. He has a superb voice and he totally won me over as the beast with his layers of humility, pain, warmth, and goodness. Maybe that should be enough.

I think it's enough.

BEAUTY AND THE BEAST will run at The Hobby Center April 27 - May 1.

For tickets:https://www.thehobbycenter.org/

Photo credit: Matthew Murphy

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