Tally Sessions embodies the physicality of the Beast impressively, while bringing considerable depth to the role.

 
Gwen Hollander & Tally Sessions 

By Tony Guzman
Critic at Large

Obviously meant to be the crowning jewel of Actors’ Playhouse’s 10^th Anniversary Season, Disney’s Beauty and the Beast opened last Saturday night at the Miracle Theatre in Coral Gables amidst twirling searchlights and considerable hoopla. Executive Producing Director Barbara S. Stein effused during the lengthy parade of local politicos, corporate sponsors and well-heeled donors coming on stage to kiss her cheek and have their pictures snapped, that the show is “the most major production we’ve ever done here.” Indeed, this Beauty is the first bona fide regional theater production of the Disney juggernaut, and Artistic Director David Arisco veritably bounded on stage to reiterate that the show is not a touring production, having been cast and produced locally. Via this show, Actors’ Playhouse, a genuinely first-rate regional theater (when it comes to musicals and other fan-friendly divertissements), takes the measure of Broadway itself, as it were.

The story you know: a handsome prince is repulsed by an ugly hag and is turned into the Beast, cursed to remain in this sorry state till redeemed by love. He retreats to an enchanted castle deep in the wolf-infested forest, his servants and staff having been turned into sundry household objects and implements. Meanwhile, idealistic, book-loving Belle is being pestered by Gaston, the handsome village ruffian, while her papa Maurice (a kooky inventor rather a merchant in Disney’s version) generally makes a muddle of things. Will our brainy, spunky heroine learn that true beauty lies within, and so save the day? Don’t bet against it.

The heart and soul of any production of this show is bound to be the performances rendering Beauty and the Beast. That’s especially so given the inherent limitations of a regional production, space and glitz-wise. The Actors’ Playhouse Beauty is fortunate indeed in this regard. Tally Sessions embodies the physicality of the Beast impressively, while bringing considerable depth to the role. Although Gwen Hollander’s quivery vibrato wears on you a bit early on, she grows on you palpably, and her winsomeness and emotional aliveness results in an ultimately enchanting Belle.

Robert Rokicki is suitably loutish, and very funny, as Gaston, as is David Perez-Ribada in the role of his hapless lackey, Lefou. Gary Marachek, an inspired comedic actor, makes the most of the part of Belle’s loopy pop. 

(L – R:) Terrell Hardcastle, Lourelene Snedeker & Bill Perlach

The actors portraying the Beast’s servants/household objects are hugely entertaining despite the considerable challenge presented by the rigidities of their costumes. As the candelabra, Lumiere, Bill Perlach serves almost as an alternate heart of the show, oozing affability and Gallic charm (and abetted by the ability to spew fire from his “hands”). The rest of the “objects” are engaging and entertaining: Terrell Hardcastle as Cogsworth (a clock), Erin Romero as Madame de la Grand Bouche (a dresser) and Anna K. DeMoranville as Babbette (a feather duster? anyway, something fuzzy). Lourelene Snedeker (Mrs. Potts) does a nice job with the title tune (the only really memorable song in the score). 

The production values are generally top-notch given the limitations of a regional theater, particularly the exuberant, lavish costumes by Mary Lynne Izzo and Dario Almiron and the storybook décor by M.P. Amico, which although rather boxy, is evocative and moves fluidly from scene to scene. Kudos also to Patrick Tennent’s effective lighting and the sound design of Nate Rausch and Alexander Herrin.    

Oh, this Beauty is beautifully sung and the band is good. Everybody lives happily ever after.