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WPCNR CENTERSTAGE. Theatrical Review by John F. Bailey. May 3, 2008 Updated with Pix: Children of all ages will thrill to Westchester Broadway Theatre production of Beauty and The Beast, which opened this week, bringing the classic Disney movie and Broadway show to close-up and personal life. All it takes is a liberal sprinkling of Disney Pixie Dust from Tinkerbell to coax new pyrotechnics and heights to the dinner theatre that has been giving its own unique stagings of Broadway classics in the round for 34 years. Thursday evening the Disney magic – if not the Broadway magic – recreated anew the enchantment of Beauty and The Beast.

A Love for a Once and Future Time: Rena Strober as Belle. Joseph Mahowald as The Beast make everyone’s favorite fairy tale new again at Westchester Broadway Theatre. All Photos, Courtesy, Westchester Broadway Theatre, by John Vecchiolla

Rena Strober is a strong, spunky Belle who touches your heart, brings on the tears, and uplifts the spirit with her articulated, up-and-down-the-scale mastery of Belle’s reach-inside-and-make-you-feel songs : Home (We Are Where We Shall be Forever) with Maurice (her father), and the splendid song that delivers the essence of falling in love, A Change in Me . `
Joseph Mahowald’s Beast is simpathetic, human, though the book does not give Mr. Mahowald much dialogue to do so, he becomes more human in Act II. The spunky, spirited heroine who stands on her own, Belle, first vexes him, then charms him. His grouchiness and temper come under control.
Mahowald’s body language as the Beast conveys power and fierceness with a visage that will not terrorize the children – though in fairness to Mahowald he does not have much time in Act One to allow audience to see the good within or feel sympathetic to him.

Mahowald’s rich baritone fills the tiered hall on the Beast’s signature song in Act I – How Long Must This Go On?
Mahowald absolutely delivers How Long Must This go On? portraying painfully the heartbreak within over his fate (doomed to a Beast’s existence for his treatment of an enchantress in the distant past).
The scene of his transformation opens the show – and electrifies the audience — not as techno-ed up as Broadway can did it – but the darkness, the lighting flashes and the explosive pops of flame are loud enough and bright enough to show magic is going on without scaring the young ones. The magic continues!
When Mahowald closes Act I, singing If I Can’t Love Her – you wonder why no one has never made a commercial recording of this song, the regret tears you up. Mahowald’s vulnerable delivery in that big Riatt-like voice of his brings forth pity for the Beast and makes you root for him. But then, I am a sentimentalist.

Driving the forces of evil in a most devilish and entertaining way is whom I consider to be the ultimate Gaston, Jonathan Burgard – muscled, striding, bigger than life he seems to have stepped out of The Beauty and The Beast movie – into life. Here he cavorts with admiring ladies, left to right, Jessica Dillan, Floryn Glass, and Katie Sina in the village square singing Gaston, his personal theme song.
A lot of others think so, too. He has played Gaston five times in productions up and down the East Coast. Thursday night he showed why. His preening and superior self-confidence was chuckle-heavy offensive. His comic delivery, clear. Voice deep and macho, and no actor sings about himself better on Gaston’s star-turns in Act One – Me and Gaston in a marvelous scene. Burgard is aided in his cavorting by Adolpho Blaire as his Lefou whose acrobatics and sychophantic palling around with Gaston is a human recreation of the attitudes of the two in the movie.`

The endearing, comic, daffy Beast Castle Staff — Left to right, Talana Deshaies as Babette, the elegant Lumiere (Rick Hilsabeck), William Hartery as the punctual, proper Cogsworth, Stacia Fernandez as Mrs. Potts and Marguerite Willbanks as Madame de la Grand Bouche — whose tricks with the dresser she is slowly turning into — will delight the children, and of course, Chip, the teacup, Michael Herwitz.
Belle’s beginning of captivity in the Beast’s castle is softened by Cogsworth (solidly characterized by William Hartery as the butler turned into a clock by the enchantress, and Lumiere (played by Rick Hilsabeck with the perfect j’ne sais quoi) the chef, whose hands have become candlesticks which actually light – you have to see this. Hartery and Hilsabeck pick the dark tone of the opening and kick the enchantment up another notch.

The Pixie Dust magic casts its spell capturing you for the rest of the night with the staging of Be Our Guest.
Be Our Guest, with plates dancing, the set expanding, opening up to multi-levels before your eyes will make your jaw drop as the small stage gains depth and turns into a magnificent dining hall with the ensemble delivering a spectacularly choreographed number combining costumes and steps and pacing that is beyond Vegas. It is easily the best full-cast dance spectacular WBT has ever staged in the eight years this reporter has been reviewing their productions. Kudus to Director and Choreographer Richard Stafford on this number alone.
However Belle fleas the Beast’s lair when she invades the forbidden West Wing of the Castle. As The Beast dispairs, singing If I Can’t Love Her to end the hour and 20 minute first act – with the haunting lines “So little is left of me… “ and “Long ago I should have seen all the things I could have been…” The way Mr. Mahowald delivers this song will break your heart. He makes his hurt inside, hurt inside you.
The Second Act builds on the first, heightening dramatic intensity – but is so well acted – you even though you know the story – you are worried about the Beast and Belle.
Of course, when Belle flees the castle, wolves (a frightening bunch) attack her and The Beast viewing the action in a magic mirror, comes to her rescue. Romance then blossoms. A touching scene of her aiding his wounds, is followed by his gift of his library.
Two numbers by the terrific entourage of actors and actresses move the romance along in believable fashion, singing “Something There,” and Mrs. Potts (Stacia Fernandez) delivering the title song Beauty and The Beast – that tells you what is happening between the odd couple who dote more and more on each other. Again the WBT set opens up to the stars magically, creating a grand romantic vista.
At this juncture Belle delivers her knockout love song – A Change in Me. Ms.Strober does not sing this, she shimmers it exquisitely endowing it with a grace that renders in melody blossoming love in bloom. It is exactly how a person in love feels. Strober handles the Belle songs superbly and is every bit the Belle of the movie, wholesome, spirited, plucky.

Of particular note is Strober’s duet with David Titus, playing her father, Maurice. Their duet No Matter What” when his invention of an automated log splitter (hilarious at best) is a marvelous statement of how fathers and daughters feel about each other. Titus gets the most out of his lines, too. His Rodney Dangerfield eyes bring instant merriment.
Belle comes to aid her father, about to be asylumed due to a dastardly blackmail plot by Gaston. The Beast is put in danger as Gaston leads a mob to the castle to kill him.
In the denouement, a duel between Gaston and the Beast, on a castle tower that rises up out of the stage, you almost think it is not going to end happily – preserving suspense to the end.
The famous final scene produces a magic happy moment producing bravos for Lumiere, Cogsworth, Gaston, Beauty and Beast, good triumphing!
The larger than normal live orchestra does not deliver the Big Broadway sound – however it stays under the singers so all words are not drowned out.
The sets are detailed and employ ingenious creative use of the WBT’s mechanical abilities. Rising turrets out of nowhere. Lurking wolves. Magnificent costumes create the Disney enchantment WBT style. The set design, through the magic of rotating arches turns the little stage into the illusion of a vast brooding castle.
Give me some of that pixie dust!
The Disney dream never fails.
Beauty and The Beast runs 2 hours and 20 minutes. It began at 8:20 and ended at 10:45 with a thirty minute intermission.
It runs through August 9. For information, contact www.broadwaytheatre.com.