Enchantment Galore in ‘Beauty and the Beast’ at Toby’s

 

Rachel Cahooon as Belle and Justin Calhoun as the Beast

It’s great that Toby’s Dinner Theatre has brought back Disney’s Beauty and the Beast at a time when we can all use a heartwarming fairy tale to relieve some stress. It’s also notable that Toby’s maintains a cache of veteran actors that can enchant us again.

If memory serves me, several performers—Jeffrey Shankle, David James, Lynn Sharp-Spears, Robert Biederman 125 as well as most of the technical crew—reprise their roles from Toby’s 2017 production. A lot has happened since that time. For example, we never heard of the word “covid.” But miraculously, these actors still remember their lines!

Yes, there are new cast members that add freshness and energy to the 2024 version of this classic musical. However, a theatrical star has emerged in the person of Rachel Cahoon who delivers a Broadway-worthy performance in the role of Belle (the beauty part of the title). There will be more about her later in the review.

Directed and choreographed by Helen Hayes Award winner Mark Minnick, who also helmed the 2017 iteration, the production clearly reflects his meticulous attention to details as well as his keen awareness of the in-the-round stage that is a hallmark of Toby’s.  It is an enchanting spectacle of superb music performed by a talented company demonstrating strong vocals and dazzling, high tempo dancing.

"...a theatrical star has emerged in the person of Rachel Cahoon who delivers a Broadway-worthy performance in the role of Belle."

Combine that with brilliant, extravagant period costumes designed by Janine Sunday; the imaginative set by David A. Hopkins, that add set pieces, props and dropdown fabric denoting the woods; Lynn Joslin’s effective lighting design; and the precise staging, Beauty and the Beast is far more beauty than beast.

Countless costume pieces are employed including colorful 18^th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Prosthetics and other devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes, but Ms. Sunday is clearly up to the task, which fortifies the aesthetics of the show.

The atmosphere representing the interior of a castle is amplified by Mr. Hopkins use of simulated oil paintings of previous kings on the walls around the theater and well-placed hanging lamps above and around the stage. Ms. Joslin makes good use of her vast lighting design experience as well as the appropriate use of fog effects to take us back to a time when princes inhabit castles while fierce wolves roam the woods nearby.

The musical, which opened on Broadway in 1994, was based on Oscar-nominated Disney’s 1991 animated feature film with the same name. It became the tenth longest ever running musical on Broadway.

Patrick Gover as Gaston

Beauty and the Beast featured the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book was written by Linda Woolverton.

Show-stopping production numbers that highlight the singing and dancing talents of the ensemble are audience pleasers to be sure.  Menken’s rich score is ably presented by Ross Scott Rawlings and his six-piece orchestra (Nathan Scavilla conducts on alternate performances).  Entertaining as that is, the fairy tale itself sweeps you away on an emotional and romantic journey.  

The story centers on a spoiled prince (Justin Calhoun) who had been transformed by an enchantress (Alexis Krey-Bedore) into a boorish, hot-tempered, unsightly creature because of an act of unkindness. That horrendous condition can only end, and the prince could return to his human form, if he can find love before petals fall off from an eternal rose given by the enchantress.  

The mutual love would come from a beautiful book-loving woman Belle (played by the aforementioned Rachel Cahoon) from a provincial town who enters the castle in search of her father Maurice (Robert Biederman) who had previously stumbled into said castle having lost his way. The story is tender and endearing, and the relationship between Belle and the Beast has the audience rooting hard for both. 

Also pushing hard for the couple to fall in love are various servants in the prince’s castle who were converted into enchanted household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed so they can return to being humans.

Simultaneously, the town’s egomaniacal, bicep-flexing, bully, Gaston (Patrick Gover), rejected by Belle to be his wife, strives to make her change her mind.

As Belle, lovely Ms. Cahoon, making her Toby’s debut in stunning fashion, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the Beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.    Ms. Cahoon displays her exquisite soprano voice in such the ballads “Belle,” “Home” and “A Change in Me.”

Not only are her vocals stellar, Ms. Cahoon brandishes her polished acting skills. Regardless of whom she interacts with, there is great chemistry. Whether it is with Mr. Biederman, Mr. Gover or Mr. Calhoun, those scenes hit the mark largely because of the chemistry displayed between the actors.

For his part, Mr. Calhoun as the Prince/Beast is also excellent.  He is called upon to be mean, gruff and demanding. Yet, he competently softens his demeanor as his love for Belle grows, demonstrating his acting gifts.  Mr. Calhoun’s pleasant baritone is evident in the emotional “How Long Must This Go On?” and the tender, beautifully delivered “If I Can’t Love Her.”

Patrick Gover romps through his role as the superior, perfect-looking God’s gift to women, Gaston.  His character, though an antagonist, provides comic relief early on because of his over-the-top self-centeredness and swagger with the amusing help from Lefou, Gaston’s goofy, ever-fawning sycophant, played with flair by Jeffrey Shankle. But his character darkens towards the end as he sets out to destroy the Beast. Mr. Gover showcases his commanding baritone in “Me,” “Gaston” and “The Mob Song”.

Rachel Cahoon, Adam Grabau and enchanted objects in "Be Our Guest"

As mentioned earlier, because of the spell, the Prince’s-then Beast’s staff had been turned into enchanted objects. One of those was a teapot, Mrs. Potts, played by Lynn Sharp-Spears. She executes the role with humor and warmth, and her rendition of the title song in the second act is performed tenderly. 

One of the characters in this group is Cogsworth (David James), the head of the castle and who was converted into a mantle clock. With his adroit comedic timing and delivery, multiple Helen Hayes Award winner Mr. James is an ongoing laugh machine.

Others in the talented cast include Babette, the enchanted feather duster (Patricia “Pep” Targette); the suave Lumiere, the maitre d’ of the castle and enchanted candelabra (Adam Grabeau); former opera diva Madame de la Grande Bouche; the enchanted wardrobe (MaryKate Brouillet); and young Chip (Elijah Doxtater who alternates with Julia Ballenger and Dylan Iwanczuk), the teacup and son of Mrs. Potts.  All perform brilliantly in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is the always reliable veteran Robert John Biedermann as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the townsfolk.

Production numbers, such as “Gaston,” “Be Our Guest,” and “Human Again” involving the ensemble are extraordinary in their execution of Mr. Minnick’s choreography.  Precise throughout, these numbers are simply sensational especially when the enchanted objects have to navigate the floor with oversized, bulky costumes. As a nod to the times, waltzes are occasionally featured.

Rounding out the energetic, talented ensemble are Brandon Bedore, Carter Crosby, Lydia Gifford, Angelo Harrington II, Sarah Joyce, Nicky Kaider (see him as Frankie Valli in Toby’s upcoming Jersey Boys), Amanda Kaplan-Landstrom, Alexis Krey-Bedore and Anwar Thomas.

With the talent overflowing and the technical crew’s skill, Toby’s presentation of Beauty and the Best excels in all facets from direction to staging to performances.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives.

Running time. Two hours and 40 minutes with an intermission.

Disney’s Beauty and the Beast runs through June 16, at Toby’s the Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here.

Photos: Jeri Tidwell Photography

The Menu for the fabulous buffet is shown here.

Drink Special: The Gray Stuff

The cast of Beauty and the Beast

Groundbreaking ‘Beauty and the Beast’ Graces Olney Theatre

Evan Ruggiero as the Beast and Jade Jones as Belle

Over the past few years, the Olney Theatre Center has been mounting productions that have transcended conventional theatrical boundaries in its goal to “drive social change, better humanity, inspire joy, and bring communities together.” Some of these efforts involve a particular theme of the production, some involve casting decisions, and others simply try out something new.

In staging Disney’s Beauty and the Beast in 2021, the artistic team decided to go outside the box and cast as the lead a self-described queer, plus-sized Black woman, Jade Jones, who plays the role of Belle, “the most beautiful girl in town.”

Olney Theatre made a conscious effort to expand the stereotypical notions of beauty onstage in this casting choice, and it worked marvelously. In addition, Olney cast Evan Ruggiero, an acclaimed tap dancer and actor who lost a leg to cancer as a teenager, to play the role of the Beast. Demonstrating that his condition was not an impediment to his performance, Mr. Ruggiero also succeeded.

Unfortunately, the production had to be cut short in 2021 because of a surge in a Covid variant. Determined to build on the success of the original production, Olney Theatre has brought back Disney’s Beauty and the Beast to the Main Stage to run through the holidays with most of the cast including these superb leads returning.

Under the meticulous direction of Marcia Milgrom Dodge, the snappy choreography of Josh Walden and the musical direction of Walter “Bobby” McCoy, the show excels on many fronts. Besides the talented leads and ensemble, the glorious set designed by Narelle Sissons, the extraordinary period costumes by Ivania Stack, the wigs designed by Ali Pohanka, the exceptional lighting by Colin L. Bills and the crisp sound by Matt Rowe, Beauty and the Beast is far more beauty than beast.

"[Jade Jones as Belle] is, in fact, perfect for the role."

Let me emphasize that Jade Jones as Belle is indeed beautiful. There is no concern, nor should there be that because they doesn’t look like Belle in the animated film or in previous iterations of the stage production, that they is not perfect for the role. Blessed with extraordinary vocal talent and acting abilities, any stereotypes about beauty vanish by their performance. Jade Jones is, in fact, perfect for the role.

Likewise, Mr. Ruggiero as the Beast, who continued to pursue dancing as a career even after the amputation, effectively moves about the stage peg leg and all and is an inspiration. He also possesses a muscular baritone voice that is a joy to hear.   

The musical, which opened on Broadway in 1994 and was based on the 1991 animated feature film with the same name, became the 10^th  longest ever running musical on Broadway. It features the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book is written by Linda Woolverton.

Show-stopping well-choreographed production numbers, such as “Be Our Guest,” “Gaston,” and “Human Again” that

showcase the singing and dancing talents of the ensemble are audience pleasers to be sure.  Yet, it is the fairy tale itself that sweeps you away on an emotional and romantic journey.  

The story of a spoiled prince who had been transformed by an enchantress into a boorish, hot-tempered beast until he can find love and return to his human form before petals fall off from an eternal rose given by the enchantress and a beautiful woman Belle from a provincial town is tender and endearing. This relationship has the audience rooting hard for both.  Also pushing enthusiastically for the couple to fall in love are various servants in the prince’s castle who were converted into household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed.

Simultaneously, the town’s egomaniacal, narcissistic, preening bully, Gaston, rejected by Belle to be his wife, strives to make her change her mind. 

Simply put, Jade Jones as Belle, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.   Ms. Jones’ Broadway-caliber vocal prowess is evidenced in the ballads “Belle,” “Home” and “A Change in Me.”

For his part, Evan Ruggiero as the Beast is superb.  He is called upon to be mean and demanding only to soften his demeanor as he becomes emotionally closer to Belle. His on-stage transformation back to being human displaying his handsome countenance at the show’s end with the ingenious use of lighting techniques is spectacular.  Mr. Ruggiero’s powerful voice is evident in “How Long Must This Go On?” and “If I Can’t Love Her.” As mentioned earlier, he overcomes his physical challenges flawlessly.

Michael Burrell romps through his role as the superior, perfect-looking God’s gift to the world, Gaston.  His character, though an antagonist, provides much of the comic relief throughout because of his over-the-top self-centeredness with the amusing and energetic help from John Sygar as Lefou, Gaston’s goofy, ever-fawning sidekick.  Mr. Burrell’s commanding baritone in the heavily misogynistic “Me,” “Gaston” and “The Mob Song” is on display.

As noted earlier, the Beast’s staff had been turned into such objects as a teapot (Mrs. Potts played by Kelli Blackwell).  Her rendition of the beautiful title song was performed sweetly. 

Other characters in this group include Cogsworth, the clock (Dylan Arredondo); Babette, the feather duster (Haley Rebecca Ibberson); Lumiere, the candelabra (Bobby Smith); operatic Madame de la Grande Bouche, the wardrobe (Tracy Lynn Olivera); and Chip, the cup (Arianna Caldwell).  All performed well in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is Sasha Olinick as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the town folk.

The remaining members of the talented and energetic cast include Connor James Reilly, Selena Clyne-Galindo, Erica Leigh Hansen, Miya Hamashige, Megan Tatum, Jessica Bennett, Ariel Messeca, David Singleton, Tyler M. White, Michael Wood and Felicia Curry.

The set, which is comprised of a facsimile of a castle’s great hall with a staircase and balcony, is essentially the only scenery used. Movements of the stairs and dropdown lighting fixtures as well as lighting changes, moveable set pieces and props signal shifts in locale, such as the town and woods as well as the castle.  Additionally, there is a clever round depiction of a rose that tracks the falling of the pedals on the rear wall.

Hundreds of costume pieces are employed including colorful 18^th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Creative devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes but Ivania Stack succeeds spectacularly, which fortifies the aesthetics of the show.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives.  Bring the kids, too; they’ll love it.

The desire on the part of the Olney Theatre to make the theatre experience inclusive, shatter stereotypes, and open doors to all talented people regardless of how they look, who they love, where they’re from, and the nature of their physical abilities is laudable and appreciated.  They should be applauded along with the performers and creative and technical teams.

Running time. Two hours and 20 minutes with an intermission.

Disney’s Beauty and the Beast runs through January 1, 2023, at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting here.

Photos by Teresa Castracane Photography

An Enchanting 'Beauty and the Beast' at Toby’s

Nicki Elledge at Belle and Russell Sunday as Beast
Photo: jeri Tidwell Photography

It is clear we’re in the midst of Beauty and the Beast Season.  The long-anticipated live-action remake of Disney’s animated film opened a couple of weeks ago.  

Currently, Toby’s, the Dinner Theatre of Columbia, is serving up the vaunted musical version.

And what a job they do!  Even with Toby’s already high bar of consistently churning out quality musical theatre productions over the years, this mounting of Beauty and the Beast soars to a new level.

Directed and choreographed by Helen Hayes Award winner Mark Minnick, the production clearly reflects his meticulous attention to details as well as his keen awareness of the in-the-round stage that is a hallmark of Toby’s.  It is an enchanting spectacle of superb music performed by a talented company demonstrating strong vocals and dazzling, high tempo dancing.  #hocoarts

Combine that with brilliant, extravagant period costumes designed by Lawrence B. Munsey, the imaginative set, set pieces, and props by David A. Hopkins, Lynn Joslin’s lighting design and the precise staging, Beauty and the Beast is far more beauty than beast.

Several hundred costume pieces are employed including colorful 18^th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Prosthetics and other devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes but Mr. Munsey succeeds spectacularly, which fortifies the aesthetics of the show.

The musical, which opened on Broadway in 1994 was based on Oscar-nominated Disney’s 1991 animated feature film with the same name. It became the tenth longest ever running musical on Broadway.

Beauty and the Beast featured the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book was written by Linda Woolverton.

Photo Jeri Tidwell Photography

Show-stopping production numbers that highlight the singing and dancing talents of the ensemble are audience pleasers to be sure.  The rich score is ably presented by Ross Scott Rawlings and his six-piece orchestra.  Yet, it is the fairy tale itself that sweeps you away on an emotional and romantic journey. 

The story of a spoiled prince who had been transformed by an enchantress  into a boorish, hot-tempered, unsightly creature (Russell Sunday) until he can find love and return to his human form before petals fall off from an eternal rose given by the enchantress and a beautiful woman Belle (played by Nicki Elledge) from a provincial town is tender and endearing.  This relationship has the audience rooting hard for both. 

Also pushing hard for the couple to fall in love are various servants in the prince’s castle who were converted into enchanted household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed so they can return to being humans.

Simultaneously, the town’s egomaniacal, bicep-flexing, bully, Gaston (David Jennings), rejected by Belle to be his wife, strives to make her change her mind. 

Exquisite as Belle, Ms. Elledge, making her Toby’s debut in stunning fashion, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.    Ms. Elledge showcases her lovely soprano voice in such the ballads “Belle,” “Home” and “Change in Me.”

For his part, Mr. Sunday as the Beast is also excellent.  He is called upon to be mean, gruff and demanding. Yet, he competently softens his demeanor as his love for Belle grows, demonstrating his acting gifts.  Mr. Sunday’s pleasant baritone is evident in the emotional numbers “How Long Must This Go On?” and “If I Can’t Love Her.”

David Jennings romps through his role as the superior, perfect-looking God’s gift to women, Gaston.  His character, though an antagonist, provides most of the comic relief throughout because of his over-the-top self-centeredness and swagger with the amusing help from Lefou, Gaston’s goofy, ever-fawning sycophant, played deliciously by Jeffrey Shankle.  Mr. Jenning’s commanding baritone in “Me,” “Gaston” and “The Mob Song” is on display.

As mentioned earlier, because of the spell, the Prince’s-then Beast’s staff had been turned into such objects as a teapot, Mrs. Potts played by Lynn Sharp-Spears.  Her rendition of the title song in the second act was performed sweetly. 

Photo: Jeri Tidwell Photography

Other characters in this group include Cogsworth, the head of the castle and who converted into a mantle clock (David James); Babette, the enchanted feather duster (Elizabeth Rayca); the suave Lumiere, the maitre d’ of the castle and enchanted candelabra (Jeremy Scott Blaustein); former opera diva Madame de la Grande Bouche, the enchanted wardrobe (Jane C. Boyle); and young Chip, the teacup and son of Mrs. Potts (Nathan Pham).  All perform brilliantly in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is the always reliable Robert John Biedermann 125 as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the townsfolk.

Production numbers, such as “Gaston,” “Be Our Guest,” and “Human Again” involving the ensemble are extraordinary in their execution of Mr. Minnick’s choreography.  Precise throughout, these numbers are simply sensational. 

AJ Whittenberger, a member of the ensemble, is dazzling in his acrobatics as a carpet in “Be Our Guest.”  If this was gymnastics, he would have garnered a sterling 9.5 in the floor exercise.

Rounding out the energetic, talented ensemble are Justin Calhoun, Andrew Horn, MaryKate Brouillet, Coby Kay Callahan, Samantha McEwen Deininger, Rachel Kemp, Julia Lancione, Kyle Louviere, RJ Pavel, and DeCarlo Raspberry.

...this mounting of Beauty and the Beast soars to a new level.

With the talent overflowing and the technical crew’s skill,  Toby’s presentation of Beauty and the Best excels in all facets from direction to staging to performances.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives. 

Running time. Two hours and 45 minutes with an intermission.

Beauty and the Beast runs through June 11 at Toby’s the Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311 or visiting tobysdinnertheatre.com.

A Majestic 'Beauty and the Beast" at the Hippodrome

No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives.  Pleasantly, the touring production of Beauty and the Beast produced by NETworks Presentations that is making a brief stop at the Hippodrome Theatre fits that bill.

Brooke Quintana as Belle and Sam Hartley as the Beast
Photo: Matthew Murphy

In its ninth month on tour, the production, for the most part, gets it right.  Beauty and the Beast delivers a majestic spectacle of superb music (directed by Kevin Francis Finn) that is performed by strong vocals and dazzling, high tempo dancing choreographed by Matt West. 

Combine that with an imaginative striking set by Stanley A. Taylor, brilliant costumes by Tony Award winner Ann Hould-Ward (for Beauty and the Beast) that include some 580 costume pieces from wolves to silverware, effective hue-rich lighting design by Natasha Katz, precise staging, and fine performances by an energetic talented cast under the meticulous direction of Rob Roth and you have a winner.   #hocoarts

Mr. Taylor’s scenery is exquisite in its creativity and design.  With many pieces in use like the houses in the Bavarian-like town, scenes change seamlessly throughout.  This excellence in the staging is a hallmark of the show.

The one flaw is that the orchestration was over-amplified on opening night and at times drowned out the vocals and dialogue.  This was most noticeable at the outset when the Prologue overwhelmed the narrator who set the premise for the tale.  Hopefully, this blip will be resolved as the run continues.

Aside from that quibble, the production excels on many fronts.  The musical, which was based on the animated feature film with the same name and became the ninth longest ever running musical on Broadway, features the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book is written by Linda Woolverton.

Show-stopping production numbers, such as “Be Our Guest” and “Gaston” showcasing the singing and dancing talents of the ensemble are audience pleasers to be sure.  Yet, it is the fairy tale itself that sweeps you away on an emotional and romantic journey.  

The story of a spoiled prince who had been transformed by an enchantress into a boorish, hot-tempered beast until he can find love and return to his human form before petals fall off from an eternal rose given by the enchantress and a beautiful woman Belle from a provincial town is tender and endearing.  This relationship has the audience rooting hard for both.  Also pushing hard for the couple to fall in love are various servants in the prince’s castle who were converted into household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed.

Christiaan Smith-Kotlarek as Gaston (c) and Ensemble
Photo: Matthew Murphy

Simultaneously, the town’s egomaniacal, bicep-flexing, bully, Gaston, rejected by Belle to be his wife, strives to make her change her mind. 

 

Lovely Brooke Quintana as Belle shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.   Ms. Quintana’s vocal prowess is evidenced in the ballads “Belle,” “Home” and “A Change in Me.”

For his part, Sam Hartley as the Beast is also effective.  He is called upon to be mean and demanding, and his on-stage transformation back to being human at the show’s end with the ingenious use of lighting techniques is spectacular.  Mr. Hartley’s pleasant baritone is evident in “How Long Must This Go On?” and “If I Can’t Love Her.”

Christiaan Smith-Kotlarek romps through his role as the superior, perfect-looking God’s gift to the world, Gaston.  His character, though an antagonist, provides most of the comic relief throughout because of his over-the-top self-centeredness with the amusing help from Matt Dasilva as Lefou, Gaston’s goofy, ever-fawning sidekick.  Mr. Smith-Kotlarek’s commanding baritone in “Me,” “Gaston” and “The Mob Song” is on display.

As mentioned earlier, the Beast’s staff had been turned into such objects as a teapot (Mrs. Potts played by Stephanie Gray).  Her rendition of the title song was performed sweetly.  Other characters in this group include Cogsworth, the clock (Samuel Shurtleff); Babette, the feather duster (Melissa Jones); Lumiere, the candelabra (Ryan N. Phillips; Madame de la Grande Bouche, the wardrobe (Stephanie Harter Gilmore); and Chip, the cup (Jake Jones in this performance).  All did well in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is Thomas Mothershed as Maurice, Belle’s inventor-father.

The Hippodrome mounting of Beauty and the Best proves why the musical has received such worldwide popularity.  It has everything one needs to be entertained including a feel-good story line that will warm your heart.  Bring the kids, too; they’ll love it. But hurry.

Running time. Two hours and 10 minutes with an intermission.

Beauty and the Beast runs through May 15 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit Ticketmaster or the Hippodrome.