Picture: Johan Persson
Beauty and the Beast continues at the Edinburgh Playhouse until 27 November 2021 before touring until November 2022.
Star rating: four stars ★ ★ ★ ★ ☆
There is a babble and hum of excitement before the lights even dim as the packed audience delights in simply being in a theatre once again. This unique sound in counterpoint to an orchestra tuning up has added delight as many a dressed up youngster waits wide-eyed for their first theatrical experience.
From the opening notes of the overture right to the finale, the orchestra is sumptuous. The arrangements and orchestrations (Michael Kosarin and Danny Troob) refresh the beloved Alan Menken, Howard Ashman and Tim Rice score, artfully weaving the new melodies with the familiar songs from the film version.
On press night, the role of The Beast was performed by understudy Alyn Hawke – wonderful strong vocals with a restless aggression that fitted well and a pathos that won the audience over with ease. His rendition of ‘If I Can’t Love Her’ (written for the stage production) was moving and passionate – a true delight.
His leading lady, Belle, is portrayed by Courtney Stapleton – sweet and feisty in turn she’s the genuine triple threat package. Acting, singing and dancing her heart out, she has the audience in the palm of her hand from the get-go.
Their love story develops when Belle takes her father’s place as a captive in the castle of The Beast. Under an increasingly powerful enchantment, the staff of the household are becoming objects of service – notably a candelabra, clock and teapot – and the spell can only be broken if the prince in his guise of the Beast wins the love of a girl.
It is in the ensemble work and in the supporting cast that this show comes to life. Borrowing on pantomime tradition to a great extent, the double act of Lumiere (Gavin Lee) and Cogsworth (Nigel Richards) hit every comic beat and have their audience roaring with laughter. Sam Bailey is spot-on as Mrs Potts, Babette (Emma Caffrey) is outrageously flirty, and in the role of Madame, Samantha Bingley delivers a glorious vocal performance.
The book (Linda Woolverton) seems a little compromised and compressed at the expense of new musical numbers. The fresh songs are wonderful but characters are having to change gear a bit swiftly without fully supporting dialogue and plot development.
In his arrogant pursuit of Belle, Gaston (Tom Senior) relishes every second in the spotlight with a swagger that never falters. As his side-kick, Le Fou, Louis Stockil’s physical comedy is outstanding, capturing every cartoon-like moment and milking it to exactly the right level. The ‘Gaston’ number is excellent – seemingly death-defying tricks have the desired effect of drawing ‘Oohs’ and ‘Aahs’ of amazement.
When it comes to show-stopping though, nothing competes with ‘Be Our Guest’ (Matt West is the show’s director and choreographer). This lavish homage to not only the original scene in the film but to Busby Berkeley, Las Vegas showgirls and a sprinkling of Moulin Rouge is so over the top, spectacular and utterly joyous it has to be seen to be believed. The subdued, monochromatic setting for the Beast’s castle is transformed into a pink, sparkly show stage complete with lit-up dancing plates and high-kicking chorus line, belting out one of the catchiest songs in a very witty score. Utterly stunning.
The visual detail brought to the waltz scene of the title song is exquisite. Belle’s sparkling golden gown is as captivating as the sentiment in the scene, appealing to the twinkly little girl in each and every one of us. Bailey’s vocal is nothing less than perfection.
As a whole, this is a captivating show – there are weaknesses, such as wobbly sets, for instance, but those are forgiven as they are off-set by the relentless charm and magic this fairy tale wallows in. The comedy is occasionally on the broad side, but is well balanced by a hard-working, talented cast. The dozens of ‘mini-Belles’ in the audience were truly enchanted.
It would be difficult to find a better family show to celebrate the return of live theatre.
Fiona Orr
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