A tale that has enchanted old and young alike opened at the Byham Theater to the tones of a live orchestra tuning. A slightly blurry projection of the traditional Disney’s Beauty and the Beast logo graced the promising black curtains and the myriads of little girls matching in their Nutcracker and Swan Lake best, complete with faux fur stoles, left no doubt in an attendee’s mind that magic was about to happen on stage.
Our journey with Pittsburgh Musical Theater’s Richard E. Rauh Conservatory’s production begins with the rich voice of the Narrator ushering us through the follies of the Young Prince’s youth, Carson Gregg, as lighting and translucent screens mostly hide and reveal the transformation of the Young Prince into the Beast before we transition to a French open air market of generically post-mediaeval time period. The costumes and choreography of the day-to-day hustle and bustle of rural townspeople flowed together and presented a convincing portrayal of natural human interaction, though some of the non-main characters’ lines and musical phrases were drowned out by the orchestra due to muffled speakers and uneven sound mixing.
Jordyn Walker as Belle was a breath of fresh air as she danced onto stage with natural grace. An obvious wig and too much eye makeup were quickly overshadowed by the ease with which she interacted with her fellow cast members and the pure quality of her beautiful voice. The chemistry between Belle and Brecken Farrell as Gaston made their scenes together utterly believable and Gaston’s inappropriate advances all the more skin crawling. Throughout the production Gaston stole the show with his over the top performance that was simultaneously convincing and absolutely absurd. Gaston was often accompanied by a disappointing LeFou, Amarianna Busa, whose wonderful physicality was marred by songs that should have been set to a key more compatible to her range
A lovingly bumbling Maurice, Jeramie Welch, opens the curtain to the enchanted castle after a brush with Wolves that was a convincing dance scene not too scary for the younger eyes in the crowd. A multi-tiered interior castle scene gave characters the opportunity to play out encounters with diverse blocking, leading each scene to be unique and visually intriguing. On the far sides of the sets, however, the painting details evoking stone work was not continued with as much care and the visible wood sheets covering the set’s skeleton put a just little ding in the fantasy illusion’s armor.
Though the set may not have been as polished, a delightfully festooned Lumiere, Nick Staso, and Cogsworth, Ben Godley-Fisher, married their French and British accents to perform classically witty repartee. And while the chemistry between Lumiere and Cogsworth was not mirrored by the relationship between Belle and the Beast, Matty Thornton, Belle interacted with the characters of the castle with absolute conviction. But after a compelling scene where Belle stands up to the Beast on behalf of her father, the progression of Belle and the Beast’s relationship seemed forced and lacked the spark that warms actual relationships. And while the Beast had a devilishly clever mask, which had a working jaw that made it look like he was actually speaking, his plain costume looked like it had just been whipped up from muslin. Though of course a Beast would not care about his appearance, any clothing remaining from the Beast’s human days would have been at least as rich as the maître’d Lumiere’s.
But when Belle, and the audience, was asked to Be Our Guest, the costumes of the various household implements were positively delightful and Mrs. Potts, Mia Schmidtetter, and the Wardrobe, Torrance Bejuszik, stole the show with their powerhouse vocals. The entire Be Our Guest sequence was spectacular with a rich array of household objects in delightful costumes – a particular favorite was a cheese grater – and well-executed dance moves utilizing the entirety of the set, and it was obvious the directors and choreographers had taken great care to entertain their audience as much as the cutlery were entertaining Belle. The only drawback in the ensemble’s costuming were the plates who were clothed in short, pink, lingerie-esque baby dolls. Putting minors in undergarment-showing costumes for a show where most of the attendees are young girls seems to go directly against the message of brains and bravery over beauty that Belle embodies and tries to turn young girls into sexualized inanimate objects.
Once Mrs. Potts began to sing Tale as Old as Time, time itself seemed to stand still because of her flawless intonation and musical expression. Mrs. Potts serenaded Belle and the Beast as they twirled before a background of actually twinkling stars and realized they were in love when the Beast learned to let go of his last true hope for physical humanity. Belle’s gown was a gorgeous interpretation of the classic golden gown and the Beast’s new-found finery was exquisite as obvious care was given to this beloved scene from director to costumer to actors.
As a whole, Beauty and the Beast was an entertaining, high-school level production that left the audience humming and skipping a little as they wound out of the theater into the chilled October air. Beauty and the Beast at the Byham Theater has unfortunately closed, but to find out more about PMT’s season, click here.