Joyful extravaganza Beauty and the Beast the Musical makes a wonderfully welcome return in a slickly streamlined production boasting a brightly polished young cast.

Almost 30 years after the much-loved original Australian production, Beauty and the Beast the Musical benefits from a modern presentation of the original design and some judicious tweaking of the score. Amidst the stage magic, the key focus is clearly upon the performers, who successfully bring the full romance and humour of the time-honoured story to life. 

Only those of a certain age will recall the impact of the 1991 animated movie musical Beauty and the Beast, the first of its kind to be nominated for an Academy Award for Best Picture. The trailblazing continued with the 1994 Broadway premiere of Beauty and the Beast the Musical, signifying the beginning of what came to be known as the Disneyfication of Broadway and what was a clear sign to the British mega-musicals that Broadway could stage lavish spectacles of its own.  

Linda Woolverton adapted her screenplay for the book of the stage musical, with prolific lyricist Tim Rice joining the team to pen additional lyrics in place of original lyricist Howard Ashman, who had tragically died of AIDS in 1991. Composer Alan Menken’s collaboration with Ashman and Disney set in place an extraordinarily prolific career.

The new production seen here originated in the UK in 2021, touring and then playing the West End in mid-2022. Moving up to double duties as director and choreographer for the updated production, original choreographer Matt West expanded the dance numbers and fine tuned the action, retaining and enhancing magical stage effects. 

Stanley A. Meyer’s original scenic design is now partly displayed using rear LCD screens, with perfecty integrated video designs by Darrel Maloney. The physical set for the Beast’s castle is missed but there is plenty of visual splendour to go around. Maloney’s stylised projections mean that the fearsome wolves are now represented on screen rather than being danced by ensemble members in fluffy outfits. 

Original costume designer Ann Hould-Ward has revised her original work, going easier on the actors playing enchanted objects and yet still providing a gorgeous array of designs. The ensemble members in particular wear an incredible number of costumes, each designed and crafted immaculately. 

Three numbers have been trimmed from the score in this version. Excision of early Belle solo “No Matter What” means she does not have a full song of her own until “Home.” Removal of “Maison de Lune” wisely keeps attention on the blossoming relationship between Belle and the Beast but means that Gaston disappears from the story for a long stretch. Finally, cutting childish fight number “The Battle” allows the late act two action to move straight to the showdown between the Beast and Gaston. 

Additions to the score include new dance arrangements for act one showstoppers “Gaston” and clear crowd favourite “Be Our Guest.” West adds a tap-dancing finale to “Be Our Guest,” also delivering a fabulous Busby Berkeley sequence where an overhead camera shows the cast making snowflake patterns in a circle on the floor. 

Menken’s score sounds sumptuous as played by an orchestra of ten musicians led by exacting music director and conductor Luke Hunter. 

An ideal Disney princess, Shubshri Kandiah emanates luminous grace as Belle, singing the role with hearty sweetness. Kandiah strikes the perfect balance of inherent vulnerability and stalwart self-reliance, ensuring that Belle’s fierce intellingence shines through at all times. 

Brendan Xavier benefits from a costume and prosthetic design that allows him to be more readily seen when playing the Beast. While Xavier’s boyish voice tends to undermine the scariness of the Beast, he certainly delivers the vocal power in glorious act one finale “If I Can’t Love Her.”

Supporting roles are perfectly cast, with the performers at peak strength after Sydney and Brisbane seasons. Rohan Browne is dashingly debonair as living candle Lumière, singing and dancing his way through “Be Our Guest” with true triple threat style. Gareth Jacobs delghts as t-t-tense human clock Cogsworth, scoring laughs a-plenty in the characterful role. Jayde Westaby brings abundant warmth to life-sized teapot Mrs Potts, connecting strongly with the audience and crooning the choice title number “Beauty and the Beast” beautifully. 

No longer portrayed as an operatic diva but rather a gossiping luvvy, Madame is brought hilariously to life by Alana Tranter in a delectable characterisation. Hayley Martin deftly sidesteps the potential salaciousness of walking feather duster Babette by confidently imbuing her with her own agency.

On opening night, Zanda Wilkinson brought cheeky cheer to teacup Chip, fully animating the plucky lad with just his face on display. Wilkinson shares the role of Chip with Jared Bickerton, Bibi Brudan, Ronin Cooper Jackson, and Cru WIlliam York Lee. 

In a classic example of the current appreciation for the indispensable value of swings, the plum role of self-obsessed brute Gaston was played on Melbourne opening night by Rubin Matters. Every inch the smirking vainglorious braggadocio, Matters totally owned the role in memorable style. 

Nick Cox delivers further comic moments as madcap Gaston sidekick LeFou. Experienced stage performer Rodney Dobson rounds out the adult cast as Belle’s dear father Maurice.

“They can sing, they can dance

After all, Miss, this is France”

All members of the highly talented ensemble give their all to the performance, proving themsleves a key attraction of the spectacular entertainment. 

Sure to be an unforgettable experience for many a young theatregoer, Beauty and the Beast the Musical is a sure fire delight for theatre lovers of all ages, after all:

“No one’s gloomy or complaining

While the flatware’s entertaining”.

Beauty and the Beast the Musical plays at Her Majesty’s Theatre, Melbourne. For tickets, click here. 

Photos: Daniel Boud