Beauty And The Beast

Technical wizardry and scenic design dominate the current production of Beauty and the Beast, which is now making its initial Milwaukee appearance. The Disney musical made its Wisconsin debut in Green Bay about a year ago, and it also has played in nearby Chicago. Of course, the Broadway production is still going strong in its fifth year. That longevity says a lot about the Disney mystique, which has turned a simple fable into a slick, well-paced and dazzling theatrical production.
 
Although this reviewer had not previously witnessed any other production of Beast, I had seen the 20-minute stage show of Beast many years ago at Walt Disney World, upon which the full-scale musical ultimately was built. Upon seeing the direct-from-Broadway production, many of the elements seemed familiar: the cartoonish characters, the glitzy sets and colorful costumes. Both efforts also have the distinctive Disney stamp: to entertain without being offensive. Indeed, it was amusing in the "Be Our Guest" musical showstopper to see the can-can girls demurely twirl their layered skirts in the front without ever flipping them up in back to reveal frilly panties. That restraint characterizes the production throughout. Technically, the show is often "over the top" (case in point, the gigantic fizzling champagne bottles in "Be Our Guest"); however, in regards to the characters' emotions, it's safely reined in. That makes the pairing of the Beast (Grant Norman) and Belle (Danyelle Bossardet) a rather tame combination; it does not even hint that Belle is attracted to the Beast's dark, dangerous sexuality. Bossardet comes off as a strong-willed Good Samaritan rather than a woman who is so bored by her small-town existence that the Beast becomes an alluring alternative.

The cast, which includes many Broadway veterans, is superb. Aside from Bossardet and Norman, who sing beautifully, there is Gerard McIssac as the zany Lefou, who takes abuse galore and comes back for more; and David De Vries as the French candlestick, Lumiere. De Vries puts enough body English into his role (make that French-style body English) that he frequently elicits gleeful squeals from the younger members of the audience. Janet Macewen, as Mrs. Potts, delivers an excellent rendition of the title song. Probably the best-realized character is Edward Staudenmayer as Gaston, the thick-skulled Big Man on Campus. Staudenmayer embraces his stylized character with relish. Not only does he look the part, he has a gorgeous bass voice that is put to good use in the musical numbers, "Gaston," and "Me." The latter is the best of the new songs that have been added to the stage production.

Technical elements are top notch. The illusions are pure magic, especially in the finale, in which a levitated Beast is transformed into the handsome prince.

All in all, Beauty and the Beast does not fully live up to the emotional standards set by subsequent efforts Aida and The Lion King. Young children will adore it; but adults may crave more. It's captivating, but stops short of being truly enchanting.