I recently listened to an interview about post-pandemic struggles within regional theaters stemming from low ticket sales and flagging membership renewals. This, unfortunately, has led to things like staffing cuts and other programmatic revisions in what would otherwise be thriving seasons. Listening to this I was disheartened. Especially as they went on to say the negative impacts are mostly hitting venues known for producing more edgy, thought-provoking or modern works. They determined that some audiences might not be in the mood for heavy-hitting material while at the same time trying to navigate a myriad of societal stressors. But the researchers also noted that audiences are still inclined to go to traditional and uplifting works that are familiar and joyful. If this describes you, then you’re in luck. The dreamy fantasy, Disney’s Beauty and the Beast, currently playing at the Muni, fits the escapism bill with hummable tunes and charming performances.
The original “tale as old as time” was written in 17th century France by Gabrielle-Suzanne de Villeneuve and the story has experienced many retellings since, inspiring artists and writers along the way. It was first set to music in 1991 with a successful animated film version and eventually premiered on Broadway in 1994 to mixed reviews but it was a commercial success. The creators (book by Linda Woolverton, music by Alan Menken, lyrics by Howard Ashman and Tim Rice) took the story of an enchantress who cursed a vain prince with only the hope of finding true love to break the spell, and turned it into a fan-favorite among audiences for decades.
The Muni’s version continues this tradition through delightful character interpretations, glittering costumes and pleasing vocals. Chrissy Mauck, as the plucky and confident “Belle,” and Sam Steere, as the angry “Beast,” entertain as their characters first resist, then discover their feelings for one another. Steere commands his moments onstage with a deep, captivating speaking and singing voice. Having to act from underneath a mask and bulky costume is a daunting task and could come off as cheesy but he succeeds in bringing out the humanity of the tortured prince. Mauck matches him in every way with her warm, intelligent Belle and lovely singing voice.
All the favorite characters are here: “Belle’s” hapless father, “Maurice” (Jim Leach), self-absorbed doofus, “Gaston” (Daniel Maughan), and his boot-licking sidekick, “Lefou” (Craig McFarland), suave French candlestick, “Lumier” (Gavon Gardner), too tightly wound “Cogsworth” (Joe Hardy), the adorable mother and son pottery team of “Mrs. Potts” and “Chip” (played by real-life mother and son Mary Kate and Jude Smith), and the lusty duster, Babette (Anna Maisenbacher). They all display wonderful onstage chemistry with each other and are a treat as they lament their fate and plot to break the curse that has not only doomed the prince but all of them as well. They are joined by a bevy of singing and dancing wolves, shimmering tableware and silly townsfolk. And I did not forget her, I only wanted to single out Aubrey Hawkinson as the singing wardrobe, “Madame La Grande Bouche.” She was exceptional and my eyes and ears gravitated towards her every time she was onstage.
Director LaDonna Wilson, Assistant Director Lindsey Rudd, vocal director Nicole Pittman and the rest of the capable staff and crew have crafted an enjoyable evening of musical theater. Sets, lights and special effects help set the mood and the orchestra sounded great. A quibble: sight lines were a bit of an issue. At times, performers were hard to see as they were so far stage right or left, and up on platforms behind a railing. This might be rectified by the time this is published, but you may want to try and sit closer to the middle for this one in order to catch all of the action.
Disney’s Beauty and the Beast continues at the Muni Thursday, Friday and Saturday, July 20-July 22. There is no closing Sunday performance. Tickets can be purchased here https://www.metrotix.com/events/detail/smo-subscription or at the box office the night of the show.
Mary Young was born and raised in Springfield and has been performing in, producing and directing live theater for decades. She’s done film and voice-over work and performs occasionally with bands and the improv troupe The Portuguese Rodeo Clown Company.
This article appears in Repurposing MacMurray Hall.
A caution to those who like lawn seating, you will miss much of the action because of site lines. The reviewer was correct. However, the overwhelming talent and experience stacked in this show will not disappoint.