Once again, the “tale as old as time” returns to Milwaukee, in a limited run of Beauty and the Beast. The last time this enchanting show played in the Marcus Center, as part of its Broadway series, was 2001. And yet, “something old is new again,” as Disney announces casting for a live-action film version of “Beauty and the Beast,” set to open in spring 2017. The film will feature Emma Thompson, Kevin Kline and Emma Watson (of the “Harry Potter” film series), among other “name” performers.
As for the stage show, which has been on tour for more than a decade, a whole new generation of little girls is waiting for its arrival. On opening night, a number of these tots wore gold, hoop-skirted dresses and other “Belle” outfits in keeping with the show’s theme. And they certainly would not have been disappointed with this version of the animated hit film.
At a time when other producers are attempting to squeeze every penny out of their budget Disney, in contrast, goes all out. More than 30 cast members populate the mostly non-Equity cast, as well as sets, props and costumes galore. Several scrims work effectively. They represent the scary woods (where Belle’s father meets the beast), and later draw a shadow over the brooding Beast as he believes he has lost his chance at love.
Characters are broadly drawn, starting with Cameron Bond as the thick-headed Gaston. With looks and muscle that would put L’il Abner to shame, Gaston is truly a living monument to the phrase “dumber than he looks.” As soon as Gaston confidently announces his marriage to Belle, he learns the beautiful girl is more interested in books than brawn. As the polite but insistent Belle, Jillian Butterfield is petite enough to physically contrast her with the muscle-bound Gaston and, later, the large, hideous Beast. Belle is undoubtedly the most naturalistic of the characters. She shows such positive traits as bravery, courage, love of family and her refusal to be bullied. She is also clever, kind and seemingly unaware of her sex appeal. She isn’t blessed with a perfect life, however. The motherless young girl enters the forest in search of her only parent, her father. Fleeing to the safety of a castle, she encounters some lively animated objects. They provide some of the show’s most genuinely humorous moments. Patrick Pevehouse (“Lumiere”), Samuel Shurtleff (“Cogsworth”) and Melissa Jones (“Babette”) are a hilarious trio. Mrs. Potts, who is literally a teapot (Emily Jewell), offers Belle the maternal touch she desperately needs. Belle is deeply frightened as the Beast appears, even as she chides him for keeping her father in a dungeon. She offers to take her father’s place, the first of many qualities that attract the Beast (Ryan Everett Wood). In truth, the Beast is actually a young, conceited prince who refused to show kindness to an old woman. Bad move. She becomes an enchantress who turns the prince into a horrible-looking beast. She leaves behind a magic rose to remind the Beast that he has limited time to find his true love, and to have his love returned. No one need wonder where this is plot is going. Belle and the Beast parry through several scenes, with the Beast becoming ever more enamored of the young girl. However, he remains convinced that no one could ever love a monster like him. Ryan Everett Wood is a more comical and animated Beast than most. His voice soars to a high soprano on occasion, allowing the little kids in the audience a chance to relax a bit between his earth-shaking roars. He also leaps in and out of chairs and straddles railings with wolf-like ease. Better yet, he has a fine, solid voice that is highlighted in his sorrowful solo, “If I Can’t Love Her.” Of all the fine production numbers, nothing can quite top, “Be My Guest.” Forks, knives and napkins pull out all the stops to entertain Belle. There are can-can girls and other snappy dancers. Near the song’s finale, a series of champagne bottles pop their corks and spew confetti all over the set.
In comparison, the lovely ballad, “Beauty and the Beast,” isn’t given nearly as much time for love to thrive between these two. One must admit the couple is splendidly dressed, and their brief dance introduces a romantic interlude.
In order to pad the animated film to the length of a stage version, a number of additional songs are included. The best of them are “If I Can’t Love Her,” and “Human Again,” in which the animated candle, clock, feather duster and teapot are hopeful that the spell will be broken and they will resume their human forms. The rest of the added tunes are mere scene-stretchers. The technical aspects are spectacular throughout. The champagne bottles are hard to top, but in the final scene, the Beast levitates and spins before he becomes the handsome prince he once was. This is really a beautiful show to watch, thanks to the fabulous sets, eye-popping costumes, talented performers and the story itself. It reminds us to look deeper than first appearances to find a person’s real worth.
