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Walt Disney has metamorphosed "Beauty and the Beast" from a bedtime story known to every child into a megahit animated film – which is an even bigger hit on video/DVD – a soundtrack, a theme-park attraction, an ice show, a lunchbox and a smash Broadway musical.
The tale is a lesson in the idea that things, which may look repulsive and frightening, could conceal great inner beauty and virtue. In learning to love the Beast, Beauty discovers a Prince.
Eight new songs by Alan Menken and Tim Rice have been added to the movie’s Oscar-winning music. In costume and acting, the fluid motion and joyfully giddy kinetic nature of the cartoon characters come to life on stage – a teacup sings, a carpet turns somersaults, a candelabrum dances a soft shoe, a wooden cabinet sings opera and knives and forks do the cancan.
But in terms of sheer physical production, this beautifully dressed holiday show at the Walnut Street Theatre proudly stands on its own against the $12 million Broadway blockbuster staging.
In the play, a prince (Rob Richardson) fails to take an old woman in from a storm, so she turns him into a beast and his servants into household items, from teacups to clocks. The spell will remain until a young woman tells him she loves him.
Belle (Christina Decicco) finds herself trapped in the Beast’s castle, disgusted by his appearance and his manners. But, needless to say, she gradually comes to accept and even love him.
The story has all the elements of the classic fable, including accompanying precepts such as "Don’t judge a book by its cover" and "Love conquers all."
The film’s ending has Gaston leading the townspeople in an attack on the Beast’s castle, but Belle, the Beast and the servants rout the nasty masses. Gaston, having stabbed the Beast in the back, dies falling off a bridge.
In the Walnut theatrical version, as well as the film version, the father is a dithering inventor who loves his daughter the way she is. "No Matter What" is a paean to their unconditional love – a relationship the story detours around to make room for cute brute Gaston (Jeffrey Coon) who sees Belle’s beauty as the only match for his own. With a good physique and a great singing voice, Coon has great fun as the posturing hunk.
"Beauty and the Beast" calls itself a musical, but it is really the American cousin of an English genre called pantomime. The latter began in the 18th century and gave life to the refinements of the harlequinade, which traditionally retells fairy tales with jokes, slapstick, songs and double-entendres.
For instance, when Belle needs to borrow a dress to dine with the Beast, the Wardrobe (Rebecca Robbins) strikes the perfect saucy pantomime note with "Let’s see what I’ve got in my drawers."
Other nuggets include Lumiere (Jamie Torcellini), the Maurice Chevalier of candelabras, saying to flustered French duster Babette (Anne Connors), "Ah cherie, you cut me to the wick."
Even stolid clock Cogsworth (William Andrew Hartery) gets into the spirit as he takes Belle on an architectural tour of the castle saying, "If it’s not baroque, don’t fix it."
The three leading characters carry the show along in winning style. Richardson’s Beast is not that frightening, but he sings well and is tender while Decicco’s Belle is the perfect heroine. Her acting is superb and her singing voice has strength and color. Coon, while not tall in stature, turns in a strong performance as Gaston, the villain with the physique of a superhero and the brain of a medfly.
The characters everyone will remember are the objects, especially Torcellini, Mary Martello as Mrs. Potts, the teapot with the steaming spout, and Wesley Capiello as Chip, her teacup son.
Jonathan Stahl as the oversized Lefou does his best to create comedy as Gaston’s dim-witted sidekick. The goofy chemistry between Gaston and Lefou just doesn’t hit the mark, though.
The spectacular Broad-way show scenery is wonderfully achieved here through the artistry of Peter Barbieri. Even the big extravaganza number "Be Our Guest" is beautifully done and remains a showstopper.
Douglass G. Lutz and his orchestra do marvelous work on the show’s lush score. The costumes by Miguel Angel Huidor and Colleen Grady are extraordinary. Even if the opening scenes are a bit rushed, the direction and choreography of Richard Stafford still deliver the rewards of this gorgeous musical.
"Beauty and the Beast" was Disney’s first trip to Broadway. No one should be surprised it brings to mind theme-park entertainment raised to the power of 10. Although not machine-made, this Walnut Street production is clearly the product of a company that prizes its winning formulas.
Beauty and the Beast
Through Jan. 8
The Walnut Street Theatre
Eighth and Walnut streets
Tickets: $10-$65
215-574-3550
www.wstonline.org.
