Despite the recent beastly weather in York, the shows must go on, so we headed to the Grand Opera House for Beauty and the Beast. UK Productions are back, but this time without Berwick Kaler and gang. We welcome the change and were excited to see if this production would have us roaring with laughter…
Disney fans may be a little confused as this isn’t the cartoon (or more recent live action) tale, presumably for licensing reasons. You won’t find Gaston, Lumiere or Chip or even the toe-tapping Be My Guest or other film favourites. What you will find though is a polished panto with high production values and a talented cast from stage and screen.
CBBC favourite Dani Harmer (aka Tracy Beaker) is the headliner this year, performing in her favourite fairytale. This isn’t the first time Dani has graced the Opera House stage either; she played Janet in a national tour of Rocky Horror…
Here though, her Fairy BonBon is much more family-friendly. Harmer is instantly engaging, and fizzes with fairy fun. There are plenty of nods to Tracy Beaker too, including a familiar musical ditty on every entrance. Dani clearly loves what she does, and that enthusiasm is infectious. Her rhyming patter is pun-packed, and she even acknowledges filling time to cover scene changes. Tres Bon (Bon!)
That’s a Rap!
A rap battle with Hugo Pompidou (Phil Atkinson) is an inspired choice, and helps add sass to a sweet role. This is a pantomime that does some things traditionally (like the never-changing ghost scene) and innovates elsewhere.
The gyrating Hugo in tight pants up the risqué-factor further, and flirts with the front rows. Not quite Magic Mike but expect dancing pecs, hip thrusts and innuendo. Rod Stewart classic Do Ya Think I’m Sexy? is his highlight, and performed with plenty of swagger. The audience boo Hugo, but he’s never quite a panto villain in the traditional sense. And the Beast is simply misunderstood, so in reality there’s no cackling evil baddie here.
Jennifer Caldwell’s Belle is truly the belle of the ball, and perfect in the role. Sweet without ever being sickly, she’s a true musical theatre stalwart hot off the heels of Six the Musical. Doting dad Clement (David Alcock) has a believable relationship with his worldly-wise daughter, and is warm and genial.
Making an Ass of Himself
Phil Reid’s Louis La Plonk has boundless energy, particularly in the Wonky Donkey skit which sees him cantering around on a donkey throughout. The audience soon warm to him, and he’s daft as a brush. He quickly puts the young volunteers at ease who join him on stage for the songsheet at the end too.
Some of Reid’s funniest scenes are with Dame Polly La Plonk, and the pair bounce off each other effortlessly.
Polly (Leon Craig) is larger than life, and suitably outrageous. Unlike many dames, she can really sing too and deserves a full solo. Naughtier than we expected, there’s a smattering of smut here but many of the more adult jokes will (hopefully) go over the kids’ heads. Fab frocks and wigs too, with a giant teapot driving us…well…potty!
Samuel Wyn-Morris’ Beast – or Mr Beast to appease the YouTube generation – packs a powerful punch with incredible vocals. In Act Two, he adds comedy to the role with an almost Grinch-like characterisation, as he attempts to learn dating etiquette to woo Belle. He looks the part, and the inevitable transformation to human is slick and inventive.
A large ensemble help fill the stage, and choreography is tight throughout. Young dancers from Dance Expression and Lisa Marie Performing Arts are clearly living their best life; bundles of enthusiasm with smiles all round.
A Tale as Long as Time?
At 2 hours 45 minutes, this is the longest pantomime we’ve seen. It’s generally pacey, but – like an unused rose – could do with a little pruning. I imagine it will get shorter as the run goes on though.
Visually the show is stunning, with incredible sets and stunning costumes. There are a few unusual choices though. A giant rose sits in a bell jar in a royal box – lit for the entire production but never acknowledged. The petals don’t drop like in the classic tale which is a shame. And this reviewer always misses a water pistol session or messy slosh routine, both becoming increasingly rare in modern panto.
Beauty and the Beast is a treat for fans of musical theatre. Most of the songs are from shows like Cats, Joseph, Moulin Rouge, Wicked, The Wiz and more. The rousing Act 1 close is Les Miserables’ One More Day, complete with waving flags and familiar choreography. There are also hits by Lady Gaga and Taylor Swift to help keep things current, plus older classics. I especially enjoyed the Beast’s I Will Do Anything for Love by Meatloaf.
Our boys (8 and 11) said this was the best pantomime they’ve seen at the Opera House, and the best version of Beauty and the Beast. Their highlights include silly shenanigans during a kitchen scene making baguettes, the jokes, slapstick and knockabout fun.
It’s refreshing to see a new take on pantomime at the theatre, with a young and fresh cast offering a genuinely family-focused production (a few naughty gags aside!)
Fairytale fun with plenty of razzle dazzle…a beauty of a show!
Beauty and the Beast runs at Grand Opera House York until Sunday 5th January, book at www.atgtickets.com/shows/beauty-and-the-beast/grand-opera-house-york/
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
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