A tale as old as time in a show for the wintertime
What is there to say about Beauty and the Beast that has not been said before? A classic fairy tale that everyone from Disney-film-watching-age up knows the story beats to, it takes a brave artistic team with drive and a vision to retell it in a refreshing way to justify the new direction, and to also retell it in a way that’s close enough to the original to stay faithful to the themes of transformation, love, and redemption.
Under the artistic direction of Dominic Hill and co-directed by Joanna Bowman, the Citizens Theatre – perhaps fittingly considering its own seven-year refurbishment – attempts this by presenting Beauty and the Beast as its family Christmas show of the year. Written by Lewis Hetherington, this latest adaptation does a fine but sometimes inconsistent job by drawing on traditions of pantomime, music hall, and Gothic romances to breathe new life into an old tale.
That is only to be expected when such a wide variety of influences are at play, though. Exemplifying this is the antagonist – who shall remain unnamed! – who is equally creepy, in a haunting way, and who is equally funny, in a panto-villainy way. The actor plays the role with such a relish that it brings out the hisses and boos from children and adults alike, and it is in this sense, among others, that the show triumphs.
However, this is also where the show falters slightly. With so much going on, the characters have to conversely remain archetypal to allow everything else to fit in. The nuances of the Beast, for example, are lost as he simply does not get enough stage-time for you to understand why he changes – his ultimate transformation more cosmetic than open-heart surgery. While diving into the dark crevices of the human psyche is not what this family Christmas show is trying to achieve, it does a little disservice to the audience, young or otherwise, that it denies them the chance to connect with the story on a deeper level.
The Beast’s counterpart, Beauty, on the other hand, does get plenty of time in the limelight and she is played wonderfully by Israela Efomi who lets Beauty’s curiosity, kindness and braveness shine through. Beauty’s relationship with her sister, a newly-written character named Bright, is also a highlight, as they learn to open themselves to each other, a dynamic that is sure to give the families a warm, fuzzy feeling.
While your heart is touched by the sisters, your eyes will be dazzled by the remarkable stagecraft on display. The sets are beautifully designed, with a particularly impressive set-piece moment at the end of Act I which might make some of the more musical-theatre-inclined patrons look around for a chandelier. There is also plenty of flying involved which awed many of the children if their pointing it out to their parents is anything to go by. Not to mention the snowy backdrop that is often the background as well, both utilitarian in purpose and also a canvas for silhouette work and more, fittingly evoking the atmosphere and memories of your parents telling you bedtime stories.
In many ways, Beauty and the Beast infuses each sprinkling of snow with real joy, delighting the young audience members with each joke and each technical feat. ‘You’ve changed,’ our villain of the evening proclaims, ‘You can’t unpluck a flower.’ By the look on the faces around you as the lights go up, you can’t help but be moved yourself by the magic that is known as theatre.