The "Disnification" of the Herberger
Reviewed July 22, 2005
Music by Alan Menken; Lyrics by Howard Ashman and Tim Rice; Book by Linda Woolverton
Directed by Lewis Wilkenfeld
Co-Produced by Phoenix Theatre and Valley Youth Theatre
The Herberger Theater Center, Phoenix
(602) 252-8497
July 20th - August 21st, 2005
$25.00 - $35.00
I have viewed Disney Corporation’s first two musical offerings in backwards order; their most critically acclaimed, The Lion King, was the first I saw when the tour settled in at ASU’s Gammage Auditorium earlier this season. It was so inventive, so theatrically minded, and still faithful to the source that I didn’t understand what the negativity of the term “Disnification” meant. I’ve only seen snippets of the original animated film of Beauty and the Beast, so I was going into the Herberger on Friday night without any preconceptions. While this co-production of Phoenix Theatre and Valley Youth Theatre is full of solid and even a few impressive performances, features some excellent design elements, is supported by an able orchestra headed by Mark Fearey, and is surely directed by Lewis Wilkenfeld and choreographed by Robert Kolby Harper, I can understand why critics and connoisseurs of Broadway musicals considered this Disney’s first shot over the bow of creativity. What I saw onstage, despite its many positives, could have worked just as well on ice.
Katie Hart Olsen is wonderful as Belle, a veteran of many VYT productions who has grown into a confident and impressive performer. Her strong, clear voice is the highlight of her earnest performance. Local actors Clark Webb (Lumiere), Jim Roehr (Cogsworth), Mike Lawler (Maurice), Kristen Drathman (La Grande Bouche), Ashley Stults (Babette), and Bryan Madden (LeFou) offer varying levels of performances. Webb is on from start to finish, a constantly exploding firecracker with strong voice and physicality. Lawler is funny, overcoming a weak voice with his sweet presentation of his slightly touched character. Drathman and Stults are very funny as a vanity and a feather duster. Madden is simply hilarious, taking his pratfalls and lumps like a pro. Roehr took a little time to warm up, but eventually reached the level of Webb as the tightly wound clock.
A few ringers have been brought in for this production, including Stuart Ambrose as the Beast, Brad Spencer as Gaston, and Kelli James as Mrs. Potts. While Ambrose is the generic everyhunk so popular these days, his performance is a strong complement to Olsen. He has a sterling voice and does a good job acting goofy during his “falling in love” stage. Spence is full of bravado as Gaston, and his bass voice carries his attitude well. James has a clear voice, but doesn’t really establish her character’s sweetness until after intermission.
The ensemble gives everything to make this cartoon work. They spryly perform
Harper’s frenetic choreography, turning “Be Our Guest” into
a cacophonic gala. They seamlessly and excellently blend the adult and youth
ensembles.
Paul Black’s isolation lighting mixed with the fog machine creates some nice moods and environments. The sets and costumes are effective rented creations. The poorest design element is unfortunately David Temby’s sound, which features strong mic usage, but some of the sound effects, especially the Beast’s recorded roar, are rather cheesy.
The kids should enjoy this long real life recreation of one of Disney’s beloved animated features. The earnestness with which the cast performs should make up for the basic lack of theatrical necessity in ever having created this show. I feel trepidations about seeing the upcoming tour of Disney’s latest and critically maligned offering, Aida. At least it wasn’t a cartoon first.
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