Beauty and the Beast

Beauty and the Beast
By Alan Menken, Howard Ashman, Tim Rice and Linda Woolverton. Miranda Musical Society (NSW). September 19 – 22, 2012.

Disney’s ‘tale as old as time’, the hit Broadway stage musical based on the iconic studio’s well-loved animated fable Beauty and the Beast, provides happy family entertainment.

After a slowish start (maybe it’s in the nature of the early scenes – a woman statically telling a story to some kids, followed by a crowd of cheerful, colourful rustics, maybe it’s very short bump-in) Miranda’s production is enlivened when the broader comedy of Gaston, then the exuberance of the household servants really ‘animates’ the show.

Our heroine Belle is delightful, an ever so sweet, genuine young woman, and the spirited performance of Natasha Hoberigis brings her joyously to life. She sings about how she deserves something better than her mundane life. She mightn’t find the relief she wants when the swaggering Gaston arrives, but it’s a splendid boon for the audience when he bursts on the scene in the form of Lachlan O’Brien, giving the night’s starring turn. O’Brien lifts the show several gears in a performance which utterly nails the necessary Disney stage style. He’s ably supported by his whipping boy foil Lefou (Leigh Scott).

When we arrive at the Beast’s castle, the well-loved, gradually transforming enchanted servants, led by Cogsworth (Jonathan Acosta), Lumiere (Tim Wotherspoon), Mrs Potts (Margaret Short), Babette (Phoebe Wynne) and Madame de la Grande Bouche (Melissa Lammers), inject further fun and energy into the proceedings with endearing portrayals of such familiar characters. ‘Be Our Guest’, following Gaston’s two big numbers, provided another delightful spike of spirit and energy in Act 1.

A dozen or so performers in gold song and dance outfits, though, bouncing through the big musical numbers in the Beast’s castle, left me bemused. Why were these servants (I presume) seemingly immune to the transformations which afflict the more familiar occupants of the castle?

Andrew Symes’ Beast captures both the brooding moodiness and awkwardness of the role, and his make-up is extraordinary.

Given the backstage limitations of Sutherland Entertainment Centre, designer / director Bob Peet has yet again come up with an effective design solution to make a big musical work against the odds.

Andy Peterson’s orchestra did ample justice to the score.

Given the short bump-in time available at this challenging venue, I have little doubt that the production will have found that vitality and energy throughout,  which some scenes, including the opening, lacked on first night and will thoroughly delight audiences.

Neil Litchfield

Photographer: Grant Leslie – Perfect Images.

 

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