Walking into the Capitol Theatre in Sydney Australia, I was surprised at the slight culture shock of seeing a theatrical production abroad. As someone who has only stuck to New York City and regional performances, I was surprised at how slight changes completely changed the experience. Random pop music playing in the lobby, ice cream cones sold in the theater (and, as they would be barkered down the aisles, audience members would gasp and shout “choc-tops!” as if they just happened to catch a glimpse of their favorite celebrity), and the kindest, most respectful audience I’ve ever had the privilege to sit alongside. Yet, the one constant was the wonder of Beauty and the Beast.
This all-new production of Beauty and the Beast toured the UK in 2022 and is now finishing up a run in Sydney before heading to Melbourne and Brisbane. The first non-replica production produced by Disney Theatricals of their debut show, Beauty and the Beast is the famous tale through and through. Belle’s fiercely loyal devotion to her father leads to her being trapped in the Beast’s Castle, but as they both begin to chip (pardon the pun) away at their own exteriors, a true love begins to blossom between the pair.
Going in, I already had decent expectations. The Beauty and the Beast score is perfection, with the songs added to the stage production arguably creating a better piece of art. (“A Change In Me” remains my all-time favorite princess song.) Disney enjoys lush, sumptuous productions, so I went in expecting the most. Unprofessionally…I love Beauty and the Beast so much and I wanted them to eat and leave no crumbs!
When leaving the Capitol Theatre last night, I came to terms with the show being about three clicks away from perfection. Now, this is to say that the show was still brilliant and left me riding high on cloud nine. However, knowing that this production is likely to cross the globe and head to Broadway in 2025, I want it to be the absolute best that it can be.
Firstly, and I’m going to be brash, I hate hate HATE a screen-based set. Disney usually stays away from such, so I’m going to cross my fingers and say this is due to the tour nature of the production and the limitations of the Capitol Theatre. When you enter Beast’s castle, a large projected staircase aligns with a 5 step unit on stage, as some (while gorgeous) candle holders come down from the rafters. It wasn’t as grand as the castle deserves. The village was cute. Gaston’s pub was cute. Beast’s castle? She deserved better.
Also, a new change in the script rushes things a bit too fast in the 2nd act. Within moments, Gaston has entered the castle and is already stabbing the Beast. I understand cutting “Maison Des Lunes.” I understand wanting to cut off the fat from the show, but we need some context to get where we need to go.
All this to say, I fell in love with this cast from the moment they stepped on stage. Shubshri Kandiah’s Belle was a revelation. Belle was played with heart, compassion, and a certain amount of grit that I’ve never seen from the character, but makes absolute sense. The anger she began “Home” with just worked in such a profound way that I connected to Belle more than I ever have before. I’m also a sucker for background acting, so the moment Kandiah goes to sit on a chaise, but is worried it is enchanted, too? My god, perfection.
Brendan Xavier’s Beast (whose credits include singing on Royal Caribbean, which made me beyond happy to see for some reason. Come on, cruise ship life!) struck me as wonderfully youthful. Beast is often played as a gruff older royal, but he’s in all actuality just a spoiled brat. Xavier’s Beast is played with the undertone of shock, not fully able to comprehend how one wrong decision led to such detriment to his own existence. Yet, as the show progresses, seeing the walls he’s built fall down to reveal a young man finally receptive to experiencing the beauty of love brought a tear to my eye.
Of course, “Be Our Guest” is such a showstopper, I found my jaw slowly dropping throughout the 10-minute number. This Busby Berkley number was lush and kinetic, exactly what you want from a number of this caliber. Adding to the lushness of the number are the gorgeous costumes throughout, designed with precision by Ann Hould-Ward. I would walk around as the Beast just to get groceries if that costume was for sale. Jackson Head’s Gaston was utterly perfect. Alana Tranter’s Madame made a meal out of a snack. Everyone in the cast was just firing on all cylinders (and disrespectfully beautiful? No cast should be that hot, but I digress.)
While I sat during the interval, awaiting the second act, I opened my program to find the following words by Disney Theatrical’s Chief Creative Officer Thomas Schumacher: “We’re all Belle. Knowledge is power. The Gastons of the world fall victim to their own corruption and fallacy. We can make our own families. And more than ever before, the power of understanding, empathy, sacrifice, and love can always transform ugliness into true beauty.” Everyone of Schumacher’s thoughts on the show was felt in the theater. Even on the other side of the world, watching as Belle learns to love a Beast remains just as beautiful.
For more information on the Australia production of Beauty and the Beast, head to their website.