A Tale as Old as Time

Disney’s Beauty and the Beast – Paramount Theatre

Alex, I’ll take Disney on Stage for $200.The answer is, “This was the very first Disney animated feature film to transfer to the stage.”The correct question is, “What is ‘Beauty and the Beast’?”

Spectacular, opulent, breathtaking, vibrantly colorful, Paramount’s production of this 1991 animated musical Disney hit is most definitely a must-see show. 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 adapted their popular film to the stage after it became the first Oscar-nominated animated feature. Frank Rich, the New York Times theatre critic, called it the best musical in years…and the rest is history. The fairy tale drew crowds of all ages. It played on Broadway for over 13 years (making it the 10th longest Broadway musical in history), spawning several national and international tours and countless educational, regional and nonprofessional productions. The musical has been translated into eight languages, produced in 21 countries and is still just as beloved as when it first opened. There are lots of 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” and “Human Again,” 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 father, Maurice, (played with restraint and humor by Ron E. Rains), is genuinely touching. The lovely, introspective,“A Change in Me,” a new song added in 1998 for actress Toni Braxton, is now part of this  gorgeous score and gives Belle one more heartrending musical moment in the second act.

This fairytale about the power of love, friendship and the ability to see past the physical and into a person’s soul is another reason for this musical’s universality. It also helps that Paramount Theatre has cast a talented company of 25 performers to populate this production. Making her Chicagoland debut is the magnificent Beth Stafford Laird. This lovely little lady with the beautiful, big voice is sheer perfection. She plays Belle with spirit, spunk, total honesty and complete naturalism. Ms. Laird is a terrific actress, can kick up her heels with the best of them and possesses a voice that would melt even the most bad-mannered Beast. 

And speaking of Beasts, Paul-Jordan Jansen returns to the Paramount stage, after earning much-deserved critical acclaim for his portrayal of the Demon Barber of Fleet Street, in “Sweeney Todd.” He was also delightful in this theatre’s recent production of “Wizard of Oz.” As the Beast, Jansen plays the fearsome character with a fine balance of bravado and wide-eyed innocence. He’s graceful and sincere, and that signature rich, operatic voice of his makes “If I Can’t Love Her,” the finale to act I, one of the highlights of this production.

The entourage of enchanted characters who occupy the Beast’s castle are played by some of Chicago’s finest triple-threats. Everyone of these musical theatre actors have been enjoyed on stages all over Chicagoland. A brilliant comic actor, Jackson Evans is wonderfully appealing as Lumiere, the Beast’s servant who was transformed into a candlestick. He delightfully takes control of the story, playing the head of this spellbound household with power and pizzazz. Mr. Evan’s physical and comic prowess is unmatched, especially leading the ensemble in the eye-popping “Be Our Guest.” The beautiful Jennie Sophia takes on one of her first character roles, making Mrs. Potts uniquely her own. Slightly younger than our usual image of the motherly, teapot-shaped character, Ms. Sophia offers a properly starched, maternal portrayal of a character who gently commands the castle with a velvet glove. Along with her incredible vocal prowess the actress demonstrates an honest tenderness with her young son, Chip (nicely played by Aaliyah Montana, on opening night, alternating the role at other performances with Izzie Rose). 

Katherine Lee Bourne, who recently played the spirited Medda Larkin in Paramount’s “Newsies,” makes a scrumptiously sexy and coquettish Babette, the French femme fatale feather duster, with a weakness for every man she encounters. Becca McCoy, a talented veteran of so many Chicago and national productions, returns to Chicago to portray opera diva, Madame de la Grande Bouche. She makes her a wonderful character, hysterical and larger-than-life, a warbling wardrobe cabinet whose drawers are filled with surprises. Cogsworth, the tightly-wound head butler-turned-mantle clock, is impeccably played by the gifted comic actor, George Keating. A Chicago favorite, Mr. Keating is a much-loved performer who delighted in Paramount’s “The Little Mermaid” and in their awesome, still talked about production of “Les Miserables.” This masterful musical actor has appeared on practically every stage around the Windy City, but he’s demonstrates particularly well-timed comedy in this sumptuous production.

Robust Emmett O’Hanlon turns in one of the evening’s most memorable, jaw-dropping performances as the handsome, muscular, swaggering Gaston. Armed with a Juilliard education and a set of bulging biceps, this venerable vocal talent dominates every one of his scenes. He’s ably supported by agile, masterful comic actor Nick Druzbanski, as Lefou, Gaston’s hilarious, put-upon sidekick. Together this droll duo generate much of the comedy in this breathtaking production.

Jeffrey D. Kmiec has outdone himself with a majestic scenic design that consists of a series of movable, multiple-level sets and towering staircases. Everything is mobile and the set changes almost instantly. This is accomplished, thanks to Mike Tutaj’s marvelous, magical projections. Kmiec and Tutaj take audiences from the quaint street of Belle’s French village, to a festive tavern; into a dark, frightening forest infested with wolves, and then on to the towering grand hall and majestic library of the Beast’s castle. Every scene achieves a new visual perspective. One particular highlight is the massive library that appears out of nowhere. In fact, the entire stage is framed by a proscenium of gigantic, colorful book bindings reminding us of two things: this is a fairytale, adapted from a storybook by Jeanne-Marie de Beaumont, and that Belle enjoys reading and treasures books more than anything else. The production is sublimely lit by Jesse Klug, a theatre artist who can make a stage sparkle and understands that, like light, shadow is equally as strong and important in this production.

Theresa Ham may want to write her acceptance speech now for the awards she’s bound to win for her stunning array of magical costumes. The enchanted household characters are elegant and pay respect to the Disney cartoon characters. Belle’s gorgeous gold ballgown has never looked more beautiful. Ms. Ham’s original work is highlighted by some incredible wigs and hair designs, courtesy of Katie Cordts. 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 Theresa Ham’s multitude of imaginative costumes and Jesse Gaffney’s oversized properties.

Finally, this grandiose production is the work of gifted Chicago director and choreographer, Amber Mak. She’s staged the musical to embrace all the magic and majesty of the original Disney animated feature. Ms. Mak, assisted by Todd Rhoades, has created some innovative movement and dance numbers, particularly the chorus of clinking beer steins used in the “Gaston” production number. Ms. Mak’s vision peppers her production with some dark, nightmarish moments that nicely contrast with the bright and breezy storybook feel of most of the show.” This talented artist, who’s proven herself over and over again as a stellar director of fantasy, with shows to her credit like “The Wizard of Oz,” “The Little Mermaid” and “Elf,” still manages to ground her productions in truth and reality. Amber Mak is ably assisted by musical director/orchestra conductor supreme, Kory Danielson, whose full, rich pit orchestra accompanies the singers and sets the mood. This is a production team that deserves so much credit for all they’ve mastered.       

Paramount Theatre has done it again! Decked out with glorious sets, sumptuous costumes and stupefying 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’s still a “Tale as Old as Time,” and one that definitely should not be missed.

Highly Recommended

Reviewed by Colin Douglas

Presented November 21-January 19 by Paramount Theatre, 23 East Galena Blvd., Aurora, IL.

Tickets are available in person at the box office, by calling 630-896-6666 or by going to www.paramountaurora.com.

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