Bristol Riverside Theatre
January 13, 1990
Saturday, my young boys and I leave the cartoons behind to see the stuff of flesh and life--a play. The theater with its warm, dark and high expanses, the lit stage at the end of the slope, is an embracing environment. There are no outside distractions and the actors reach out with a fullness and depth impossible to television. On stage is a production of Beauty and the Beast made wonderful substantially because director/writer Eric Stedman has observed the deep meaning of the fairy tale while making his phrases and characters turn with an eye towards humor.
The story strongly conveys man's struggle to be a good and caring human being--personified in the Beast's seeking to manifest his warm and gentle soul from within an animal form--and the truth that appearances are deceiving and to be pierced only by the discerning eye--cast in Beauty's struggle to realize the Prince in the Beast. The play brought across and fleshed out these ideas with satisfying fullness.
As Beauty, Diane Wallahan glowed with sweetness and virtuous caring. John Havens, as the Beast, while not as subtle, gave palpable for to the struggle of a higher self over animal inheritance. At the same time, Beauty's selfish and self-centered sister Repella, delightfully played by Patti Lee, was there as the wisecracking comic element. Donning helmet and grabbing crossbow to stalk stoopshouldered the Beast who holds her sister. Or always clamoring for chocolate pie and then telling her giving sister Beauty how selfish she is to have asked their father for one red rose. Another winsome point of access to the play was provided by Tracy Bell's elf who served to guide us through the fairy tale land.
My boys and the audience were transfixed as I suspect other groups of children (and adults) will be as the show tours this area.
-- David Gould, MAPP
Brisbane Arts Theatre,
Queensland, Australia
Sept.-Oct. 2000
The show has been a real hit with kids and adults.
Audiences have been really appreciative and houses mostly
full (despite the Olympics!). It is difficult for me to
comment on because I've been so close to it, but the
comments I've heard from people I respect have been great.
One lady I know who regularly takes a kindergarten group to
see shows at our theatre, actually wrote a letter to say
that this was the best children's play that they have ever
seen. She says her littlest girl has insisted on being
called "Pea Pod" all week!
The design aspects of the show have come together nicely.
All the costumes look wonderful, very "fairytale." We were
fortunate to be able to use the cyclorama which gave the
whole look a great depth and ability to change moods with
the colours at the back.
The Beast coming back to life always gets a gasp from at
least part of the audience. Repella is the crowdpleaser and
Pierre is also very well received.
We have two peach-face love birds for the bird from the
Linden forest. They are also always a hit and join in at
just the right times. they seem to like chirping back to
Beauty after she has sung to them!
It has been a delight to work on the show, and the success
is in no small part due to the structure of the story and
the great music. Many people have been genuinely surprised
that Chilren's theatre can be so engrossing. I guess that
they are used to a more "pantomime" style or those
patronising theatrical versions of children's stories. This
one has just the right amount of excitement and wonder,
laughter and tears.
-- Leo Bradley, Director, Brisbane Arts Theatre