A Tale as Old as Time

Disney’s Beauty and the Beast–Drury Lane Theatre

A Tale as Old as Time

Spectacular, opulent, breathtakingly genuine, colorful yet gritty, Drury Lane’s theatrical production of Disney’s 1991 animated musical hit is a definite must-see. It’s visually magical and brimming with gorgeous music and magnificent performances. Luckily for Chicago, the musical has arrived just in time for the holidays and it’s a production worth treating the entire family to, whether it’s their first or fiftieth visit with Belle, the Beast and all their bewitching friends.

Disney Productions was inspired to adapt their popular film to the stage when it became the first animated movie to be nominated for the Oscar for Best Picture. The New York Times theatre critic Frank Rich called it the best musical in years. The rest is history. The fairy tale played on Broadway for over 13 years (making it the 10th longest Broadway musical in history), spawning several national and international tours, countless regional and nonprofessional productions and translations into eight languages, playing in 21 countries. There are many reasons for the popularity of this “Tale as Old as Time.”

First is the beautiful score by Alan Menken. Starting with its Oscar-winning title song, to the soulful “Home;” from a delightful anthem to egocentric arrogance, “Gaston,” to the rousing “Be Our Guest,” this show is a musical masterpiece. Adding to the magnificence of these melodies are the wonderfully witty and wise lyrics by Tim Rice and the late Howard Ashman. “No Matter What,” a father and daughter duet between Belle and her eccentric dad (played with restraint and humor by Mark David Kaplan), is as touching as the scheming “Maison Des Lunes” is foreboding. The lovely, introspective,“A Change in Me,” a new song added in 1998 for actress Toni Braxton, is now part of the score and gives Belle one more beautiful musical moment in the second act.

This familiar fairytale about the power of love, friendship and seeing past the physical and into the soul is one more reason for this musical’s universality.  It also helps that a talented cast of performers populates this production. A dead-ringer for a young Kyra Sedgwick, talented Chicago actress Erica Stephan is sheer perfection. Played with total honesty and naturalism, she’s a spirited, spunky Belle with a voice that would melt even the most bad-mannered Beast. And speaking of Beasts, Brandon Contreras makes his Drury Lane debut playing him with a fine balance of bravado and wide-eyed innocence and a rich, operatic voice that makes “If I Can’t Love Her,” the act I finale, one of the highlights of this production.

The cast of enchanted characters who live in the Beast’s castle are played by some of Chicago’s finest triple-threats. All of these musical theatre actors have been enjoyed on stages all over Chicagoland. Tony Carter, who impressed in Drury Lane’s “Saturday Night Fever” and “Joseph…Dreamcoat,” is astounding as Lumiere. He delightfully takes control over the story, playing the head of this spellbound household with power and pizzazz. Carter’s physical and comic prowess is unmatched, especially leading the ensemble number, “Be Our Guest.” The incomparable Bri Sudia makes the role of Mrs. Potts uniquely her own. Slightly younger than our typical image of the motherly, teapot-shaped character, Bri offers a strong, matronly command, incredible vocal power and a gentle, honest tenderness, that sometimes brings a tear to the eye in scenes with her young son, Chip (nicely played by Sophie Ackerman, on opening night, alternating the role with Graham Carlson). 

At the opening night performance, and playing the role for the next two weeks, Sierra Schnack, makes a scrumptiously sexy and coquettish Babette, the French femme fatale feather duster, with a weakness for every man she encounters. She’s understudying the role for Chicago favorite, Allison Sill, who’s recovering from an accident, but will return to the part next month. Catherine Smitko, a talented veteran of so many Chicago and nationally-produced productions, portrays opera diva, Madame de la Grande Bouche, a wonderfully, larger-than-life Wagnerian wardrobe cabinet. Cogsworth, the tightly wound head butler-turned-mantle clock, is impeccably played by the gifted Nick Cosgrove. Nick was last seen at Drury Lane in “Joseph…Dreamcoat,” “Rock of Ages” and “Saturday Night Fever,” but his talents have also taken him all over the country. The actor’s found his niche in this production.         

Robust Mark Banik turns in one of the evening’s most memorable performances as the handsome, pompous, swaggering Gaston. Possessed with a powerful set of muscles and venerable vocal talent, Banik dominates every one of his scenes. He’s ably supported by agile, masterfully comic actor Paul Michael Thomson, as Lefou, Gaston’s hilarious, put-upon sidekick. Together this droll duo dispense most of the comedy in this dark production.

And dark it most certainly is! Gone are the typical fairytale qualities found in most productions. Audiences familiar with the bright, primary-colored sets and costumes from the film may be surprised by the “Les Miserables” feel to this production. The appearance is rather grungy and filled with natural textures and tones that have been muted and appear lived-in. Kevin Depinet has outdone himself with a majestic scenic design that consists of a series of multiple levels and broken stairways. Everything is mobile and the set spins about on a turntable that achieves a new visual perspective with every move. One particular highlight is the massive library that appears out of nowhere. The entire stage picture is framed by a proscenium of twisted wrought iron that lights up to form the iconic rose. It unbelievably seems to drop its petals as the magic spell draws to an end. The whole production is sensitively lit by Ryan O’Gara, a theatre artist who understands that, like light, shadow is equally as strong and important in this almost grim, foreboding production.

Ryan Park may want to dust off his mantel right now for the awards he’s bound to garner for his stunning array of magical costumes. The enchanted household characters bear little resemblance to their Disney counterparts. His original work is highlighted by some incredible wigs and hair designs, courtesy of Claire Moores. For example, Lumiere, the living candelabra, seems to drip melted wax as the tale spins toward its conclusion. His costume is comprised of various sized candles attached to his head and fingers. His actual clothing is the costumer’s interpretation of how gold plated metal translates into fabric. Always a spectacle in any version of the show, the “Be Your Guest” production number earned more applause than in any other song, partly attributed to Park’s multitude of imaginative costumes.

Finally, this grandiose production is the dream of guest director Alan Souza. He’s effortlessly staged the musical to appear to be in constant motion. Souza’s vision invokes a certain dark, nightmare quality, instead of a familiar bright and breezy storybook feel. Souza seems to have been inspired by the look and tone of Jean Cocteau’s 1946 French film classic film, “La Belle et la Bete.” Interestingly for a fantasy, Souza always keeps his actors grounded in reality, rather than allowing them to fly off into the buoyancy of a Disney fairytale. Mr. Souza is ably assisted by brilliant choreographer Ron DeJesus and musical director/orchestra conductor supreme, Chris Sargent. This is a production team that deserves a lot of credit for all they’ve mastered.       

Decked out with glorious sets, costumes and special effects, a lush-sounding live orchestra and a hardworking ensemble of singers and dancers, this production is guaranteed to impress and dazzle. With the holidays fast approaching, audiences should immediately reserve their tickets for a production that remains a “Tale as Old as Time,” and one that should not be missed.

Highly Recommended

Reviewed by Colin Douglas

Presented November 9-January 27 by Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the box office, by calling them at  630-530-0111, by calling TicketMaster at 800-745-3000 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area productions can found by visiting www.theatreinchicago.com.