|
Regional Reviews: Phoenix Disney's Beauty and the Beast Also see Gil's reviews of Evil Dead The Musical and Shrek The Musical
Based on Disney's Academy Award-winning 1991 film, the first time an animated motion picture was ever nominated for the Best Picture Oscar, Beauty and the Beast tells the story of the Beast, a prince cursed for his selfishness, and Belle, a bright and independent young woman who dreams of a life beyond her small provincial town. When her father becomes imprisoned in the Beast's mysterious castle, Belle offers herself in exchange for his freedom and finds herself living among an enchanted household of servants who have been transformed into household objects under the same spell that turned the prince into a hideous beast. As Belle and the Beast slowly learn to understand one another, they discover that true beauty comes from within, but their growing bond is threatened by the arrogant hunter Gaston, who is obsessed with marrying Belle. The stage adaptation opened on Broadway in 1994, becoming Disney's first stage musical and paving the way for the company's enormous success with its many film to stage adaptations. Drawing from the film while expanding on its storytelling, the musical introduces several new songs while also fleshing out its characters. This production honors the original stage production while offering a contemporary update that incorporates revised contributions from members of the original creative team and a few updates by Linda Woolverton, who also wrote the film screenplay, to her book. The result is a production that feels both nostalgic and fresh. The score (music by Alan Menken and lyrics by Howard Ashman and Tim Rice) is expanded beyond the songs familiar from the film, particularly through additional material for the Beast, who barely sang in the film. "How Long Must This Go On?" and "If I Can't Love Her" provide deeper insight into his loneliness, regret, and growing capacity for love, with Rice's beautiful lyrics adding emotional depth to his transformation. Also, this recent version of the show trims a few unnecessary numbers, including "No Matter What" and "Maison Des Lunes," as well as the battle scene with the townspeople and the enchanted objects in the castle toward the end. The central performances are exceptional. Belle is portrayed with warmth, intelligence, and determination by Kyra Belle Johnson, capturing the character's independence while maintaining her compassion and optimism. Fergie L. Philippe delivers a deeply moving, yet also playful, performance as the Beast, balancing the character's ferocity with vulnerability and a quiet tenderness. Their evolving relationship forms the emotional core of the production, and the strong chemistry between Johnson and Philippe makes the transformation from fear to love entirely believable. Their vocals are also incredibly impressive on all of their songs. Stephen Mark Lukas is delightfully charismatic and hilariously self-absorbed as Gaston, creating a villain audiences love to hate. Danny Gardner brings charm, energy, and theatrical flair to every scene as Lumiere, while, as the heartwarming Mrs. Potts, Kathy Voytko provides wisdom and charm. Understudy Michael Dikegoros offers excellent comic relief as the tightly wound Cogsworth, and Harry Francis' comic antics generate many laughs as Gaston's lovable sidekick, Lefou. Kevin Ligon is full of paternal love as Belle's father, Maurice. In smaller roles, Cameron Monroe Thomas adds playful glamour as Babette, and Holly Ann Butler contributes elegance and strength as Madame. Levi Blaise Coleman brings an abundance of youthful enthusiasm to the spirited Chip (Kanoa Edgar alternates in the role). Together, the ensemble create a vast assortment of vibrant and richly defined characters. Matt West's direction is outstanding, maintaining a brisk pace while allowing emotional moments to resonate fully and giving an affectionate nod to Robert Jess Roth's original direction. West was the choreographer for the original Broadway production, so he's familiar with what made that production so magical. Every creative element works perfectly together to transport the audience to a magical world, from the lavish costumes by Ann Hould-Ward and Stanley A. Meyer's stunning scenic design to Natasha Katz's atmospheric lighting and West's inventive choreography. The magical transformations by Jim Steinmeyer are particularly impressive, capturing the wonder audiences expect from a Disney production; the prince's transformation is especially impressive and drew huge applause at the opening night performance. Hould-Ward, Meyer, Katz, West, and Steinmeyer all served in those same capacities on the original Broadway production and their updated designs pay homage to the ones thousands of people saw in that production's 13-year long run. The addition of Darrel Maloney's video and projection designs brings a cinematic quality to the production that heightens the fantasy elements, especially in the forest scenes and in the gorgeous moving background images, particularly the one for the act-one finale. David Andrews Rogers' wonderful music direction derives impressive vocals and a rich, warm sound from the orchestra while the sound design from John Shivers provides imaginative sound effects while also ensuring every lyric and line of dialogue is crisp and clear. My only quibble in this otherwise superb production is with "Be Our Guest." While this new version is a major showstopper, and had many people giving it a mid-show standing ovation, I missed the non-stop parade of enchanted objects that were in the original production and in the film. Gone are the salt and pepper shakers, the cheese grater, the carpet, and so many other kitchen items. While we still get plates, napkins, and utensils, they are all mainly the actors dressed in gold costumes while holding large scale versions of those items; there isn't even a table for Belle to sit at to be served the meal that's been prepared especially for her. With the actors all dressed in gold, it looks more like the finale of A Chorus Line than an enchanted dining experience. Fortunately, that's my only issue to the many updates and changes that have been made and the musical number is still impressive. Beauty and the Beast is a joyful celebration of love, redemption, and the power of seeing beyond appearances and a reminder that beauty is found from within. The national tour production successfully honors the musical's legacy while bringing fresh energy and imagination to the material. With memorable performances, spectacular visuals, and a score that continues to enchant, this beloved tale remains as magical today as ever. Disney's Beauty and the Beast runs through July 3, 2026, at ASU Gammage, 1200 S. Forest Avenue, Tempe AZ. For tickets and information, please visit http://www.asugammage.com or call 480-965-3434. For information on the tour, visit beautyandthebeastthemusical.com. Music: Alan Menken Cast: |
