Beck's "Beauty and Beast," brings
a faithful Disney classic to life
By Art Thomas
happenings
Published Dec. 21, 2005

Characters Belle and Gaston from the Beck Center's "Beauty and the Beast."

How great it is to praise a show such as the Beck Center production of Disney's Beauty and the Beast! This production is a Christmas treat to the greater Cleveland community.

When it opened on Broadway almost a decade ago, "Beauty and the Beast" brought the spirit of Disney to the Great White Way. Now that it has reached local theaters, the issue is to what extent will theaters honor or be able to honor the original.

Beck Center's production, under the direction of Fred Sternfeld, is faithful to the material in spirit and execution. Walt Disney is smiling on this show.

The first hint that audience members are in for a treat is the fairy tale scenic units that flank the stage. Suggestions of a castle are on both sides and a beautifully executed show logo in the middle reminds us of the title page of a book. This is before the show begins.

A reverb-enhanced bass voice gives us the back-story of the too-proud prince who was turned into an ugly beast until he learns the meaning of unselfish love. In the unnamed village we are treated to a kaleidoscope of color as villagers and merchants tell us about Belle, the book-loving daughter of eccentric inventor Maurice.

Stuck-up Gaston proclaims his love for Belle who spurns him and soon has bigger issues when her father disappears. Captured by the Beast, he is freed when Belle offers herself in exchange. Because of the spell, the Beast's servants are slowly becoming inanimate objects.

So, Natalie Green is charming as Belle in her blue jumper and has the Broadway voice that this show requires. Dan Folino, who never seems to make a misstep in choosing a role, or creating amazingly diverse characters, stretches himself in the tortured role of the Beast. Sometimes on all fours, sometimes walking upright, he has mastered the vocal qualities that give the Beast the necessary human quality.

Everyone is aided by Richard Ingraham's first-rate sound design that does not call attention to itself while balancing voices, instruments and special effects.

Larry Goodpaster's orchestra is more than up to the challenging score in which background music especially makes very difficult demands of the musicians.

We've come to expect nothing less than professional excellence from Martin Cespedes' choreography. In "Beauty and the Beast" it is augmented with creative fight choreography and every measure helps to reinforce or advance the story.

Everyone, even the least of the townspeople, make strong contributions to the magic of the story, and Lumiere, Mrs. Potts and Cogsworth--the candelabra, teapot and clock respectively--are still warmly human despite the inanimate costumes they must wear.

Competent magic special effects help to create fantasy mood here, but the biggest kudos should go to Beck Center management who must have spent a fortune on this production. Director Fred Sternfeld has a demonstrated success with mega-musicals and he was given the resources to bring this "Beauty and the Beast" to life.

A huge feather in the Beck Center's cap, "Beauty and the Beast" is in its first local production with a flair that will be difficult for any theater to top. I'm sure the run is nearly sold out by this time, but if any reader can get in to see it, it will be well worth the while.

"Beauty and the Beast" runs through Dec. 31.