This review was written by a TeenTix KC teen who is learning about arts journalism through the Press Corps, which provides teens with training and tools to respond to their arts experiences. TeenTix KC seeks to engage teens in the arts and amplify their voices. This may be the first time this teen has publicly expressed their opinion about an arts experience. Thank you for reading and supporting this teen’s development as an arts journalist.
The Beauty and the Beast National Tour came to the Kansas City Music Hall from Oct. 28 to Nov. 2. The show was directed by Andrew Flatt, Thomas Schumacher, and Anne Quart; music by Alan Menken; lyrics by Howard Ashman & Tim Rice; and book by Linda Woolverton.
This show delivered on the magic. It brought the classic movie to life, leaving certain details intact, keeping the nostalgia, but also adding exciting new elements. The effects were consistently delivered by the costumes, set, choreography, music and special effects.
I saw the show on Oct. 28 and the enchantment began as soon as I entered the theatre. The Kansas City Music Hall is an elegant venue and delivered a quality performance (even from row W). I was very impressed with how well the touring show integrated into the stage, seeming like a show that had been rehearsing there for weeks.
The ways they made the show portable did not lessen its quality. For example, they made up painted backgrounds with projections designed by Darrel Maloney. The projections also added some flexibility, where backgrounds could change easily, and were very realistic looking. One moment that stood out to me was the woods scene, where they projected wolves on the screen at the front of the stage with lights designed by Natasha Katz down onstage, alternating with showing the stage. The music also added to this ambience until I could feel the growing suspense. My favorite part of this sequence featured Maurice (Kevin Ligon) in the wolf projection’s mouth to show him being attacked by the wolves.
The special effects were very impressive, especially when they couldn’t rely on the stage or theatre. I really liked the Enchantress (Kate Wesler) transition, where she not only went from wearing a plain cloak to a sparkling gown, but also grew in height. I also liked how the costumes looked similar to the movie, but also added more theatre magic, especially with the castle staff. Lumiere (Danny Gardener) had real flames on his costume–which was a bit scary. Chip (Levi Blaise Coleman) was in a cart, which was very well constructed, since I could see actors through the hollow middle when they walked behind it, and could not see where the actor’s body was.
One song I thought was well done was “Be Our Guest.” It had a dance scene (choreographed by Matt West) that was really what you expect from a Broadway-level show. It had glowing dishes, special projections, special lighting, and costume changes. At one point, the dancers were on the floor with a camera above, creating a kaleidoscope effect. There was even a comedy scene where Cogsworth (Javier Ignacio) “unplugged” the lights with a large plug, which, when re-plugged by Belle (Kyra Belle Johnson), the dance sequence resumed in full swing. At the end of the song, they shot confetti into the crowd, which I was too far back (by a lot) to get covered in, but it was still a whimsical element.
One of my favorite characters was LaFou (Harry Francis), whose character received a major glow-up in the writing. He had a lot of funny lines and physical comedy that I thought Francis delivered well. In this version, he was less of just Gaston’s (Stephen Mark Lucas) sidekick, but more of a standalone character. I also really liked Johnson (Belle) and Fergie L. Philippe (Beast) and their songs “Home” and “If I can’t Love Her,” respectively. The lyrics were impactful and their voices beautiful.
One snag, however, was when they stopped the show. Immediately following the Beast’s transformation, the screen with the opening projection came down, which made me wonder for a hot minute, “Is the show over? I really thought there was more.” And, I was right, there was more, because a moment later, they announced there were technical difficulties. The show resumed in less than five minutes, and the audience never saw anything go wrong onstage. I do not think it took away from the overall performance of the show because everything was handled professionally, and it was a reminder that anything can happen in live theatre, even in professional theatres.
Overall, I thought this show brought a Broadway-level experience. Everything absolutely delivered on the Disney magic. It brought nostalgia but also added new songs and theatre magic.
Reviewed by TeenTix KC Press Corps member Sarah Adams
TeenTix KC is a KC Studio initiative building a brighter future for our region by empowering young people to take an active role in shaping their arts community as audience members, critics, influencers, advocates, patrons and leaders. Any 13-19 year-old can become a TeenTix KC member by downloading a free pass which enables them to buy $5 tickets to participating arts venues across metro KC. Teens are encouraged to become critics and influencers by writing reviews and creating reels about the arts they experience using their TeenTix KC passes.
