ASC’s Third Beauty & The Beast Is Just As Fine As Earlier Ones

By Aaron Krause

Mere inches from you, the titular characters dance slowly and gracefully to the soothing title song in Area Stage Company’s (ASC) multi award-winning professional immersive and participatory production of Beauty and the Beast.

You can clearly see up close Belle’s dark hair and shining eyes and the Beast’s horns. In fact, during the reviewed performance, at least one small child in the audience pointed as if to say, “Look, mom, Belle is approaching me!”

The proximity of such characters to audience members is likely one reason why this roughly two-and-a-half-hour production, including an intermission, has sold out for two straight years. And now, through Dec. 21, ASC is offering South Florida audiences one last chance to experience the magic of this enchanting and touching production of the Disney classic. Among other things, it’s a great way to introduce little ones to the magic and power of live theater. But you may want to buy your tickets fast.

For the previous two productions, set designer Frank Oliva transformed the Adrienne Arsht Center’s intimate Carnival Studio into the Beast’s castle. But this time, the venue is a space within The Shops at Sunset Place in South Miami that Oliva has turned into the Beast’s castle.

It’s a dark, large room and hall with decorations such as lit candles, statues of armor, a throne, as well as long tables where audience members sit – and upon which the performers sometimes stand. There is no traditional stage separating audiences from the performers. Rather, the entire place serves as the playing space.

Katie Duerr, as Mrs. Potts, sweetly sings the title song, as though she were singing a lullaby to her young son, Chip (a sweet Antoinette Jane Mess), while the title characters (Yarden Barr and Tristan Caldwell) dance. A rich sounding live band accompanies performers as they sing the title song and other memorable numbers from Beauty and the Beast.

Audience members who have experienced this production have said they felt as though they were not seeing a show but participating in a Disney experience.

Speaking of audience involvement, this is not only an immersive production but a participatory one. Indeed, cast members hand out books to patrons during intermission. That is because, during a scene set in the castle’s library, audience members hold up books. It’s a simple yet clever way to suggest library shelves without having to design actual shelves. The production’s young, visionary director, ASC artistic director Giancarlo Rodaz, has become famous for his immersive, minimal, yet creative productions.

The decision to have audience members hold up books is one example of Rodaz’s smart and creative directorial choices. But the library scene is not the only chance for audiences to get in on the action. In addition, cast members hand out mugs of beer so that audiences can participate in toasting the villain, Gaston (a fine Frank Montoto). During this particular song, titled “Gaston,” you feel as though you’re seated with pals at a pub. And you may feel complicit for toasting a villain.

It’s important to note that Rodaz has kept the score and story from the beloved Disney musical classic intact. While this is a non-traditional production, it’s the same Beauty and the Beast that you and legions of others have come to love.

For the uninitiated, the “tale as old as time” takes place in roughly 18^th century France and revolves around a curse that an enchantress places upon a selfish, young prince and his castle. As part of the curse, Prince Adam transforms into a hideous beast. In addition, the human inhabitants of the castle transform into household items such as a clock. In order for the spell to break, the beast will need to love a young woman – and earn her love in return within a specified time period.

The show’s beloved numbers include the rousing show-stopping song, “Be Our Guest.” The castle’s inhabitants sing it to Belle as they treat her to dinner. But “Be Our Guest” is also a phrase that neatly summarizes Rodaz’s directorial approach. Undoubtedly, you are the characters’ guests as you sit at Belle’s table with the tale’s beloved characters surrounding you.

To their credit, the cast sings the animated “Be Our Guest” with the requisite energy and spirit. You may feel like clapping along. Actually, cast members emote well while performing each of the show’s songs. Composer Alan Menken and lyricists Howard Ashman and Tim Rice’s score includes such memorable numbers as the tender “No Matter What,” the emotional “If I Can’t Love Her,” and the celebratory “Human Again.”

As an ensemble, this cast gels beautifully with strong chemistry between characters. But individually, the performers shine as well, creating distinct and colorful characters while also imbuing them with humanity.

Barr, who first captivated audiences during ASC’s inaugural production of Beauty and the Beast, returns as Belle, the titular “Beauty.” Barr imbues Belle with spirit, charm, and an infectious zest for life. In addition, Barr’s Belle is an assertive young woman who won’t let bullies such as Gaston push her around. He is the true “Beast” in this story.

This time, Barr and other performers speak and sing with French accents, lending the production an added authenticity. Barr demonstrates strong chemistry with Tico Chiriboga, who lends convincing nervous energy and sensitivity to Belle’s father, Maurice. Chiriboga also plays Madame der la Grande Bouche with appropriate over-the-top theatricality.

Caldwell, a newcomer to ASC, portrays the Beast. He is not nearly as ferocious as other performers I have seen in the role. You could view that as a knock on his performance. Indeed, he could act much angrier. However, Caldwell makes up for his lack of ferocity by lending the Beast a believable awkwardness and low self-esteem that suggests the creature is a shunned outsider. With his head sometimes down and his soft speech, it looks and sounds as though the Beast is ashamed of himself. Rest assured, though, that Caldwell showcases his booming voice when necessary, such as in the emotional first act closer, “If I Can’t Love Her.” We hear his emotional pain during the number. And a touching tenderness suffuses the creature toward the end.

Frank Montoto as Lumiere, who doubles as Gaston

Montoto plays Gaston with the requisite arrogance, boastfulness and bravery. Watch as, without hesitation, Montoto’s Gaston lifts Barr’s Belle as though she were a prized possession rather than a human being. Like other performers, Montoto plays more than one character. In addition to Gaston, he imbues Lumiere with credible uptightness.

As Gaston’s bumbling sidekick, Lefou, John Luis could act more comically inept, but he still delivers a solid performance.

Under Rodaz’s sensitive direction and smart staging, emotional moments truly touch us and the pacing is just right.

Costume designer Maria Banda-Rodaz, ASC’s executive director, has fashioned colorful and character-appropriate outfits for the actors, sometimes resplendent in robes. Performers who play humans transformed into household items don’t necessarily wear full and fanciful costumes, and that’s OK. For instance, the performing playing Cogsworth carries a clock. That is sufficient to identify him.

In this animated production, even the lighting instruments move and blink at times. Speaking of lighting, designer Joseph Naftal makes wise use of hues. In addition, he smartly varies the intensity of lighting according to the needs of a given scene.

Sound designer Abraham Oleksnianski produces realistic effects such as those suggesting thunder. And, for the most part, we can hear and understand the performers, although sometimes they could benefit by wearing microphones.

Beauty and the Beast leaves us wondering how we treated people in the past. For example, did we shun people such as the Beast? Perhaps the show reminds you to act kinder and be more accepting, which is certainly a welcome message during this divisive time.

Beauty and the Beast suggests that we look past people’s less-than desirable exteriors and find their inner beauty. At the same time, after seeing Beauty and the Beast, we might be more aware of the inner “beast” lurking within us. In addition, the musical imparts messages about sacrifice, true love, and being selfless instead of selfish.

For a show that conveys such timely and timeless lessons, Rodaz’s immersive and inclusive production makes sense. Indeed, at the end of the day, how much better might our world be if everyone at some point invited their neighbors to be their guest?

 Area Stage’s multi award-winning immersive and participatory professional production of Beauty and the Beast plays through Dec. 22. Show times are 7:30 p.m. Friday through Sunday and 2 p.m. Saturday and Sunday. Performin at The Shops at Sunset Place, 5701 Sunset Drive in Miami. Go to ASC’s headquarters (Suite 286) and someone should be able to direct you to the Beast’s Castle. Runs roughly two and a half hours with an intermission. Tickets : $80 for adults, $40 for children, and student tickets are $40. For tickets, go to www.areastage.org or call (305) 666-2078.