But so much design skill is tossed away at bulking out a story that insists on treating the film like the ur-text for the fairytale. Genuinely, it is one of the most visually impressive shows I’ve ever seen: even Meyer’s painted backdrops are gorgeous, and that’s to say nothing of the woodcut-style projection of wolves, the gasp-inducing quick changes and the beautiful 3D sets, most notably the dreamy tunnel of night blossoming pink roses. But it’s also frustratingly superfluous, a grandiose exercise in stalling for time. The core story – girl meets beast, they fall in love, beast turns out to be hot guy – is endlessly padded out via the light relief characters from the film and long, lavish old-school song and dance numbers that wow with their technical virtuosity while being virtually redundant to the actual story.Ĭhoreographed by West, a song and dance sequence set in a tavern involving rhythmically clanking flagons and vain antagonist Gaston (Tom Senior) singing about how amazing he is was genuinely jaw-dropping. But there’s not a lot of substance there. Redirected by the show’s original choreographer Matt West, this reworked version of the show – which has music by Alen Menken and lyrics by Howard Ashman and Tim Rice – looks astounding thanks to the still-stunning design by Stanley A Meyer and illusions from Jim Steinmeyer.
Nothing against the talking candelabra community, who I hold in great respect, but having only the vaguest memories of the film – I appreciate a live-action remake came out in 2017 – it was somewhat baffling that so much of the first half of the musical is given over to Gavin Lee’s Lumière and his clock pal Cogsworth (Nigel Richards), while Shaq Taylor’s Beast, in particular, is barely in it until after the interval. He's a man of few words and fewer expressions.When Disney’s ‘Beauty and the Beast’ musical premiered on Broadway in 1994 it was understandable that it cleaved fairly slavishly to the smash film, which had only hit cinemas three years previously.Īlmost 30 years on, and it maybe seems weird that so much of the plot in this retelling of a centuries-old fairytale hinges on the antics of a sassy talking candelabra, notably not a feature of Jeanne-Marie Leprince de Beaumont ’s 1740 story ‘ La Belle et la Bête’.
Fai is the youngest smithy to achieve the rank of 'Master'. Running a shop in addition to being the royal blacksmith. Strangely though, whenever it's time to work, Veris tends to up and disappear! I wonder why.? Veris is high-ranking member of the Golden branch of the Knights of Faunestra, Veris is known as quite the upstanding hero. Strong-hearted, impulsive, and eager to learn, she's also smart, kind, or brave depending on your choices! GAZE AT OUR HANDSOME LOVE INTERESTS Lyre's strong sense of justice and habit of acting before she thinks has often led to her getting fired.
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