BEAUTY AND THE BEAST: Review Theatre People
Review for Theatrepeople magazine by Will Ross.
Outside the gates to Disneyland, Walt Disney’s dream and ultimate creation, a single bronze plaque reads:
Beauty and the Beast provides us with just that experience: a timeless imagining, a story that speaks to us all with universal themes of yearning, nostalgia, hope, loss, love and the triumph of good over evil. The lavishly told story takes us all away from our seats and into the land of “once upon a time”, a land recreated with magic, care and attention to detail by director Bryce Ives and the Geelong Lyric Theatre Society.
The story, for those few who have never seen the Oscar-winning animated film, is of a Prince (Ed Harcourt) cursed by a witch for his misdeeds, transformed into a hunchbacked, upright animal, who must win the love of a girl to break the spell. To add to the excitement, his household of servants have become everyday objects, and the town beauty Belle (Kimberlee Bone) is pursued by the ragingly self-obsessed Gaston (Jamie McGuane).
The most immediate impression of the production is the stunning beauty of the backdrops and sets. Disney believed that “pictures still speak the most universally understood language” and the exaggerated beauty of the visual experience is disarming and effective. A gentle forest, soft blue sky, and we are in a place that is instantly familiar and comfortable. The townsfolk are pleasingly one-dimensional, as is the dashing foil Gaston. In a subtle nod to the Greek gods – and the dangers of hubris – we see Gaston frozen as the statue Adonis, and from his first moment on stage he commands attention. Almost more of a caricature than the enchanted objects, Gaston was puffed up like a balloon, drawn like a cartoon, and narcissistic like only an imagined villain can be. With a potent mixture of talent, flamboyance, a codpiece, and a character the audience love to hate, Mr McGuane stole the show.
Ms Bone as Belle was a beautiful, simple heroine – honest emotions and open characterisation combined with respectable singing to take the audience with her through this experience. Her entry in the emblematic yellow dress drew a gasp from the audience, both for her and the incredible and meticulous costumes designed by Sally Smith, which were lush and luxurious throughout.
The Beast’s characterisation was reconceived significantly from the film; played as a petulant child rather than the violent, darkly forbidding creature of the motion picture. Some felt confused by the direction of the Beast (judging from overheard interval conversations) and it was a brave choice to reshape a character in the presence of strong pre-existing story familiarity and inherently conservative audience expectations. It may have been an offering for the critics in a show designed for audiences. Regardless, Mr Harcourt has impressive talent and the combined effects of his exceptional voice, a rushing set, and stark, compelling rear lighting provided a powerful moment during the Beast’s solo If I Can’t Love Her.
Delightful moments were provided by enchanted objects Lumiere (Tony Wasley) and Mrs Potts (Ferri Bond). Mr Wasley played an outrageously lecherous candelabra, remarkably at home on the stage, clearly relishing shocking the audience as one of the few Disney characters with acceptable sexuality. Mrs Potts, the Beast’s maternal influence, was realised in a near faultless performance by an always careful and controlled Ms Bond. Her performance of the title song was a delicate and gentle moment in a mostly boisterous musical.
An unexpectedly enjoyable scene was Maison des Lunes, a middle-of-the-road song added for the musical adaption that became a visual delight thanks to simple yet astonishing choreography (Mark McCabe) – including dancing in strait-jackets! – and lighting throwing a menacing relief onto the backdrop. Be Our Guest was a treat for different reasons: delirious dancing, camp bodysuits, gaudy pyrotechnics and a sumptuous montage of costume, set and movement. The gorgeous and vast wardrobe was a highlight of both that number and the whole production. Indeed, visual imagery was such a vital element of the product that one of the biggest dangers was losing the audience through half-hearted special effects. Accordingly, the production team created a series of breathtaking illusions, including and especially the dazzling final transformation with the Beast becoming human before our eyes. Blocking was also universally excellent, although at several points dialogue became stilted and awkward.
Musical direction by Amy Wert provided a responsive and well-conducted orchestra that supported the cast and provided some beautiful moments in its own right. Ensemble singing was mostly outstanding, although encountered occasional shaky notes and sometimes sacrificed pitch for volume.
Ultimately, Beauty and the Beast is a fable about appearance and reality. Children see a Belle – beautiful because she is so good – and a Beast who is rewarded by becoming human. External appearance is both validation and reward, and the internal-external equilibrium is maintained by the final resolution. Adults draw a different message: the Beast and Gaston on opposing trajectories; one becomes incrementally more human, one more beastly. External appearances are a distraction, not a reflection of truth. They also see a simplified moral – in real life, the superficially attractive is actually tempting. Belle is never tempted by Gaston – but that’s just not Disney, is it?
very interesting, but I don’t agree with you
Idetrorce
hi
Dad (Jamie Mcguane) you are awsome!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
By: Thomas Mcguane