Tale as old as time gets luscious production at Rivertown Theaters.
It might be a beast of a production to pull off, but Rivertown Theaters’ season finale show is certainly a beauty.
With Disney’s “Beauty and the Beast,” the company displays full theatrical prowess as it captures the magic of storytelling. That simple, direct allure proves irresistible to children and adults alike.
Adapted from the now classic 1994 animated film, “Beauty and the Beast” was Disney’s first major foray into Broadway-style musical theater. Of the many others that would follow, few would match its artistry. The current staging by the Rivertown Theaters for the Performing Arts brings together the fine acting, bright designs and exquisite singing that together show why this “tale as old as time” remains a thoroughly engaging hit.
The French fairy tale about a cursed prince, who will remain forever a hideous creature unless he can find true love, remains a gripping story, filled with passion, adventure and plenty of Disney humor. Director Gary Rucker brings it all splendidly to life with his fine cast.
Emily Heck takes full command of the stage as Belle, the independent-minded, bookish beauty of the tale. She is as lovely as a typical Disney princess, but also has an appealing presence throughout that is driven by her spirited performance. Vocally, she offers a crystal-clear tone with ringing power that never loses all the lyricism of a light soubrette.
Jason Kyle Dowies is remarkably emotive as the Beast, able to project his feelings even through the heavy makeup and masking. The imposing look achieved for the Beast is a darker and scarier one than audience may recall seeing in the past. This makes his emotional transformation through the show even more powerful, as we encounter the spirit of the Prince imprisoned in that body. His solid vocals burst forth with power and passion, in such songs as “If I Can’t Love Her.”
John Detty brings a stout voice and attitude as Gaston, Belle’s blustery and vain suitor. Ian Morel charms as Gaston’s comic foil, LeFou. The physicality of their clowning shows especially crisp timing. As Belle’s father, the absent-minded inventor, Maurice, Edward R. Cox delivered an eccentric charm, as well as a sympathetic performance.
The assortment of supporting roles of the servants in the Beast’s castle – now slowly turning into household objects – fill the production with joy.
Rucker himself shines as Lumiere, the rakish candelabra. Alan Payne is the tightly wound Cogsworth. Together, their interplay is in the grand comic tradition of such partnerships as Laurel and Hardy.
Jennifer DeLatte gives an embracing performance as Mrs. Potts, the teapot. Her velvety warm rendition of the title song is particularly lovely.
Cayden Pecoraro is an adorable little Chip; Belle Tudor gives Babette her sauciness; and Elise Spurlock plays the operatic diva well as Madame de la Grande Bouche. The ensemble fills the stage with a rousing crazy-quilt of villagers and other small roles.
The show looks incredible. From the moment the curtain rises on Belle’s village, so full of comical characters, each with a distinct look and attitude, the audience is almost overwhelmed by the colors. Derek Blanco’s impressive sets and Shelbie Mac’s multiple backdrops, each beautifully detailed, are so rich in saturated hues. Tied together through Melissa Martinez’ glowing lighting designs, they all come together, giving the entire show the look of a storybook illustrated by Maxfield Parrish. Marc Fouchi’s sound designs enhance the atmosphere.
Director Rucker brings a cinematic sweep to the entire show, raising it to a grand scale, while at the same time never losing the intimacy of the pure theatricality of the piece. For all the color and light, Rucker maintains the focus on the relationship between the two title figures. He draws out, for example, in the library scene the precise moment that love enters the picture by centering on Heck and Dowies with a loving precision.
Frannie Buchtel’s choreography remained true to expectations, while offering inventive new ideas. The attack by the wolves in the woods was particularly stylish. “Be Our Guest” achieved that “culinary cabaret,” truly stopping the show for an extended ovation on opening night, as it blended everything from French can-can to the stage-wide chorus line. One singular sensation, indeed! The dancing, spinning dishes were a special delight, seen as Vieux Paris porcelain in a Busby Berkeley pattern.
As is the company’s general custom, the cast is accompanied by recorded music. This majestic score, however, is one that made me miss having a live orchestra in the pit.
“Beauty and the Beast” may be familiar, with tours multiple tours having come through town. The folks in Rivertown’s box office, however, can attest that like most Disney stories, there is always another generation coming along to enchant. This staging does just that. Tickets might be tough to come by, but don’t miss this sweetly endearing show.
