A tale as old as time – Beauty and the Beast

BY ROLAND ROCCHICCIOLI

THE BLOC Theatre production of Beauty and the Beast is a visual and auditory delight. The cast of 75-actors flood the stage and the auditorium with a palpable spirit of joie de vivre. You would have to be churlish not to be swept along on the tide of enchanting music, captivating characters, and the unfolding drama.

As Belle, the heroine of the piece, Brittany Harbour drives the narrative with a soaring voice, and a determined feistiness which would swell the heart of any modern-day feminist. She treads the fine line between charming believability and saccharine sweetness with great élan, and claims the part as her own.

Based on the classic French fairy tale by Jeanne-Marie Leprince de Beaumont, and which she adapted from Gabrielle-Suzanne Barbot de Villeneuve’s original, the Walt Disney stage version works on two levels: the joy of the tale with good triumphant over evil; and the ugly darkness of society’s underbelly. First published in 1748, Beauty and the Beast remains, with its murkier societal themes, as relevant as ever – perhaps more so in these troubled times.

Under Tim Gay’s clear direction, and set against Nathan Weyers charming and magical fairy-tale set design, and coupled with superb costumes by Lee Appleby and Andrea Jordan, the piece is well-honoured by its hard-working principals and ensemble: Alex Gay as the Beast well captures the dark despair of the man; Aidan Brady as Gaston, and Luke McInnes as le Fou, his side-kick, bring the right note of pomposity and silliness; the witty and nuanced quintet of Gareth Grainger, Callan Lewis, coquettish Ellie Orr, Jeandanielle Evans, and Rachel Angee as Mrs Potts – with her stirringly haunting version of the theme song ‘Beauty and the Beast’ – is a theatrical treat. Chloe Morehouse, Melanie Walker, and Kelly-Louise Warner are delicious as the Three Silly Girls; Darron Farquhar brings an agreeable Australian note to the role of Belle’s father; and Phillip Howden hits a disquieting note of ugly menace; however, it’s aerialist, Erika Hansson, who steals a couple of scenes.

Ballarat is well-served for pit-musicians. Conducted by Joshua Vucicevic, with Jane Nice, Bec O’Dowd, and Stewart Greedy on keyboards, this 18-piece orchestra is as tight and accomplished as any.

Beauty and the Beast opens tomorrow night with a fundraiser for the Ballarat Hospice and then runs performances nightly at 7.30pm until Sunday, 7 July with matinee shows on Saturday, 29 and Sunday 30, June and Saturday,6 July and Sunday, 7 July at 1.30pm. Tickets are available online at wpca.com.au.