Beauty and the Beast is a musical, with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton. Adapted from Walt Disney Pictures' animated film – which in turn, was based on "Beauty and the Beast" by Jeanne-Marie Leprince de Beaumont – it tells the story of an unkind prince who has been magically transformed into an unsightly creature as punishment for his selfish ways. To revert into his true human form, the Beast must learn to love a bright, beautiful young lady who he has imprisoned in his enchanted castle and earn her love in return before it is too late.
Critics, most of whom hailed the original film as one of the finest musicals in years, instantly noted its Broadway musical potential when it was first released in 1991, encouraging Disney CEO Michael Eisner to venture into Broadway. All eight songs from the animated film were reused in the musical, including a resurrected musical number which had been cut from the motion picture. Original songwriter Menken composed six new songs for the production alongside lyricist Rice, replacing Ashman, who died during the production of the film. Woolverton, who was writing the film's screenplay, adapted her own work into the musical's libretto, and specifically expanded upon the characterization of the Beast. Woolverton expanded the storylines of the castle staff from servants who would already have been transformed into household objects referring to the 1991 animation, to have humans slowly turning into inanimate objects. Costumes were designed by Ann Hould-Ward, who based her creations on both the animators' original designs as well as the Rococo art movement after researching how clothing and household objects looked during the 18th century.
After completing tryouts in Houston, Beauty and the Beast premiered on Broadway on April 18, 1994, starring Susan Egan and Terrence Mann as the eponymous Belle and Beast, respectively. The musical opened to mixed reviews from theater critics, but was a massive commercial success and well received by audiences. Beauty ran on Broadway for 5,461 performances for thirteen years (1994–2007), becoming Broadway's sixth longest-running production in history at the time of closure. To date, it is still the tenth longest running show. The musical has grossed more than $1.7 billion worldwide and played in thirteen countries and 115 cities.[citation needed] It has also become a popular choice for junior, amateur and high school productions.
Background[]
Still recovering from Walt Disney's demise, Disney's animated films continued to experience a noticeable decline in quality while struggling to attain critical and commercial success during the 1970s and 1980s from Walt Disney's death. The Walt Disney Company CEO Michael Eisner was hired to ensure the performance of the studio's next animated projects, despite having virtually no animation experience. Eisner himself had been a theater major in college. Eisner's first hire as Disney's CEO was theatrical producer Peter Schneider, who subsequently became responsible for hiring more artists who shared similar theatrical backgrounds to contribute to the studio's next animated releases, among them lyricist Howard Ashman and his long-time collaborator, composer Alan Menken. Ashman and Menken had previously amassed great live musical success with their Off-Broadway production Little Shop of Horrors, but the performance of Ashman's first Broadway venture Smile had been disappointing. Eager to redeem himself, Ashman agreed to work on Disney's animated film The Little Mermaid (1989), which he and Menken would famously decide to approach as though they were scoring a Broadway musical. Upon release, The Little Mermaid was a massive critical and commercial success, garnering two Academy Awards, both of them for Ashman and Menken's original music. Disney established a successful renaissance period, during which Ashman and Menken became responsible for teaching the art of transforming traditional animated films into animated musicals.
Inspired by Mermaid's success, production on an animated musical adaptation of the "Beauty and the Beast" fairy tale began shortly afterward, during which Ashman finally confessed to Menken that he was dying of AIDS, a secret he had been keeping from the studio in fear of being discriminated against or fired. Before the film had even been completed, executive vice president Ron Logan suggested to Eisner that he consider adapting Beauty and the Beast for Broadway, an idea Eisner quickly deflected. While the film, written by screenwriter Linda Woolverton, was premiering at the New York Film Festival, an ailing Ashman was being cared for at St. Vincent's Hospital; the lyricist succumbed to his disease four days later on March 14, 1991, dying eight months before the film's November release. Beauty and the Beast became the last project on which Menken worked with Ashman. The film was released to immediate critical acclaim and commercial success, outperforming The Little Mermaid by becoming the highest-grossing animated film in history, as well as the first animated film to be nominated for an Academy Award for Best Picture. Once again, Academy Awards were won for Ashman and Menken's music. Several critics noticed the film's live musical potential, among them prolific New York Times theater critic Frank Rich. Lamenting the Broadway selection at the time, Rich famously praised the songwriting duo for having written "[t]he best Broadway musical score of 1991", while hailing the film as a "better [musical] ... than anything he had seen on Broadway" in 1991. Rich's review would ultimately provide Eisner and Katzenberg with the confidence needed to seriously consider the film as a potential Broadway project. Disney was also inspired by the successes of Broadway musicals such as Cats, Les Misérables and The Phantom of the Opera strongly believing their production could be just as profitable.
Virtually unknown at the time, Robert Jess Roth was appointed the production's director based on his various successes directing live shows at the Disney theme parks. Eisner and Katzenberg had opted against hiring a more established director in order to retain creative control over the project, believing that an A-list director would likely feel more inclined to challenge their vision. Roth himself had previously pursued Eisner about investing in a Broadway show – originally suggesting a stage adaptation of Mary Poppins into a Broadway musical in 1984 – only to have his idea declined, citing cost of investment and time concerns. However, Eisner invited Roth to ask him about pursuing Broadway again in the future once he had finished directing three additional Disney theme park shows. Ultimately impressed with Roth's adaptation of The Nutcracker, Eisner finally suggested an adaptation of Beauty and the Beast, inspired by the success of a condensed stage version of the film at Disneyland, although briefly discouraged by the idea of having humans instantly transformed into inanimate objects live. Since the film had not yet been released on home video, Roth spent an entire day re-watching Beauty and the Beast in theaters while brainstorming how to present its fantastical elements onstage, and eventually worked with choreographer Matt West and set designer Stan Meyer on their own proposal, with contributions from Menken and Woolverton. In a hotel in Aspen, Roth convinced Eisner and Katzenberg to green-light a Broadway adaptation of Beauty and the Beast using a combination of 140 storyboards, costume sketches, fabric swatches and demonstrating one illusion. Eisner retained final approval over all creative elements of the production, "from the lowest chorus swing performer to the director, stars and design team." Menken was initially skeptical of Roth's qualifications, as he had never directed a Broadway show before. Meanwhile, the producers were concerned that audiences might not be interested in seeing the same story that they have enjoyed on film on the Broadway stage. Among the skeptics was theatrical producer Steven Suskin, author of Opening Night and Broadway, who argued that the production was more likely to be successful in reverse: "(The movie is) basically written as a theater piece. I'm sure it would've worked in the theater first, and it then would've worked in the movies", believing audiences would have difficulties accepting a new version of such an immensely popular work.
Beauty and the Beast became Disney's first Broadway venture, although Snow White and the Seven Dwarfs, a stage adaptation of Disney's animated film of the same name, had premiered in New York in 1979, produced by Radio City Music Hall Productions, Inc. Theatre Under the Stars' executive director Frank Young campaigned heavily to have the show open in Houston, Texas, even getting Governor Ann Richards involved in order to secure the stage rights.
Development[]
Writing and screen-to-stage modifications[]
Roth summarized Beauty and the Beast as a story about "seeing past the exterior of a person and into his or her heart". Woolverton learned that Disney had commissioned her to adapt the animated film she had written into a Broadway musical while she was vacationing with her family in Maui, and her initial response to the idea was "Yikes". In the process of adapting her own animated screenplay into a full-length, two-act libretto for the stage, Woolverton contributed several distinct changes to the material, specifically instilling more emotional "depth" into each main character. The writer expanded the story by both "fleshing out" each character and allowing room for new musical numbers. Namely, Woolverton made the Beast a more threatening yet sympathetic figure; the writer expanded upon his characterization by developing the Beast into "a fuller character", aided by the addition of his own song, "If I Can't Love Her". Meanwhile, the book-loving Belle was adapted into a more headstrong and determined heroine. Belle and the Beast's relationship benefits from a new scene Woolverton wrote specifically for the stage, during which the couple read in the castle's library; Belle introduces the Beast to the tale of King Arthur and reads the book to him, to which the Beast responds by showing genuine vulnerability for the first time.
In 1993, Woolverton explained to the Los Angeles Times that "the mythology in the story would be changed to explain, for example, a 6-foot-tall candelabra." Perhaps Woolverton's most significant modification involves the enchanted objects, and the decision to have the enchantress' spell gradually transform the castle's staff of loyal servants into household objects throughout the entire duration of the musical, as opposed to having already done so immediately at the beginning. Essentially, becoming completely inanimate if the spell is not broken in time would equate to each character dying, which ultimately augments the story's drama. Consequently, this plot decision enhanced the story into a tale about people being forced to make difficult decisions, as opposed to solely a story of a man struggling to retain his humanity, in turn providing the audience with an opportunity to care about the supporting characters dramatically.
Generally, Woolverton's book remained quite faithful to the original text; the plot is essentially the same, but particular detail has been added in order to "flesh out" the story. The feather duster and wardrobe characters – only minor characters in the animated film – were broadened into fully realized supporting characters and named for the first time; Woolverton named them Babette and Madame de la Grande Bouche, respectively. Taking her job seriously, Woolverton worked relentlessly on revising the script, and often took the cast's suggestions into consideration (though not always yielding to their opinions). Despite the musical having been based on a pre-existing story by Jeanne-Marie Leprince de Beaumont, Woolverton retains a sole writing credit for her work, as the story had long lapsed into the public domain by that time.
Casting[]
Broadway producers are usually eager to cast big-named performers in their musicals, but Katzenberg, famous at the time for avoiding working with actors of such caliber, decided against this practice for Beauty and the Beast. Eisner concluded that most of the film's original voice actors would be too busy to reprise their roles onstage. In her Broadway debut, then-22-year-old actress Susan Egan was cast as the musical's original Belle. Egan, who had not yet seen the film, had been auditioning for several other Broadway projects at the time – namely My Fair Lady, Carousel and Grease – in which she was much more interested. Despite longing to originate a Broadway role, the actress was initially reluctant to audition for Beauty and the Beast because she thought that "it was a terrible idea for Disney to put a cartoon on Broadway." Additionally, Egan felt she was not attractive enough to play a character touted "the most beautiful girl in the village", but her agent managed to convince her otherwise. Without any film to reference, Egan determined that Belle is supposed to be a "quirky" character and approached her funnier than how she is depicted in the film, in turn garnering laughs from the producers – who were amused by her unique interpretation – and eventually earning several callbacks. Meanwhile, her competition of 500 actresses, many of whom were simply offering imitations of voice actress Paige O'Hara's original performance, continued to be eliminated.
Egan's final week of auditions, during which she sang for Menken for the first time, was particularly challenging. On her last day of auditioning, Egan auditioned opposite several actors trying out for the roles of the Beast and Gaston. As the day concluded, Roth directed Egan to approach the role as "a straight ingénue", and she was ultimately cast upon proving capable of playing Belle both straight and comically. Only afterward did Egan celebrate by finally renting and watching the entire film for the first time. Although Egan did not feel particularly pressured about the role, she was grateful to be surrounded by a supporting cast of veteran Broadway performers.
Actor Terrence Mann was cast as the Beast. Mann had previously performed as Javert in Les Misérables, for which he was nominated for a Tony Award. For his final audition for Disney management, Mann performed for a large audience comprising Disney executives and secretaries in a theater located on 42nd Street, which he felt was in stark contrast to the usual method of auditioning for six to eight people in a dark theater. Actor Gary Beach was cast as Lumiere. Beach had seen Beauty and the Beast premiere at the El Capitan Theatre, prior to which he had watched a stage rendition of the film, and thoroughly enjoyed both. Beach was particularly drawn to Jerry Orbach's rendition of "Be Our Guest" in his role as Lumiere, thinking, "Now why can't I get a part like that". Two years later, Beach received a call from casting director Jay Binder inviting him to play Lumiere during their workshop of Beauty and the Beast, but kept turning down the offer due to having prior commitments to an upcoming show starring comedian Carol Burnett. It was only at Burnett's insistence that Beach finally accepted. Amidst a cast of relatively obscure actors, Tom Bosley, famous for his roles on the television series Happy Days and Murder, She Wrote, became the show's most recognizable performer when he was cast as Belle's father Maurice.
Musical numbers and choreography[]
All eight of the film's original songs were retained for the Broadway adaptation. The song "Human Again" had originally been written for the film, but it was ultimately abandoned due to time and story constraints; the musical number was finally resurrected for and included in the production. Composer Alan Menken, who had both scored and written the film's songs alongside lyricist Howard Ashman, returned to the project to write six new songs for the musical. Lyricist Tim Rice joined Menken to co-write the new numbers, replacing Ashman who had died in 1991, before the film was released. Both Menken and Rice initially approached the project with some resistance; Menken's emotional attachment to the music he had written with Ashman made him fear Disney's vision of a Broadway musical would transform Beauty and the Beast into an attraction too similar to what one would find at Walt Disney World. Meanwhile, Rice, who had previously worked as composer Andrew Lloyd Webber's lyricist on the Broadway musicals Jesus Christ Superstar and Evita, was hesitant to replace Ashman in fear of worsening Beauty and the Beast. Notably, Rice had similarly replaced Ashman to write the remaining songs for Disney's Aladdin (1992) after the lyricist died. Ultimately, the collaboration resulted in approximately half of the Broadway score having co-writing credits by Menken and Ashman, while the remaining half are Menken and Rice compositions. The Menken-Rice songs are sometimes billed as "additional songs composed by [Alan] Menken and lyrics by Tim Rice". On working on the musical without Ashman, Menken explained that "The main challenge... was blending the lyrics of Tim Rice with those of Howard. In the end, the finished score has a quality all its own; a hybrid between" Ashman and Rice's styles. Elaborating on the main difference between writing songs for the stage as opposed to film, Menken stated that the lack of close-ups and montages in a live musical production creates a requirement for more singing material in order "to provide the same kind of illumination that intimate facial expression provides."
Most of the new material focused on character development, such as Gaston's "Me", Belle's "Home" and the Beast's "If I Can't Love Her". Other new songs, Maurice's fatherly ballad "No Matter What" and Gaston, LeFou, and Monsieur D'Arque's villainous number "Maison des Lunes", were written to flesh out the plot (and in the case of Maison Des Lunes, give Belle and the Beast a longer chance to change into their ballroom outfit). In 1998, a seventh song entitled "A Change in Me" was written four years into production's run specifically for R&B singer Toni Braxton when she joined the cast to play Belle, and appears during the show's second act. The idea for the song originated while Braxton was still in negotiations with Disney to appear in the show for a total of three months, but various circumstances led to the singer constantly delaying signing the contract. It was not until Braxton had dinner with Menken, Rice and West that she finally agreed to sign the contract under the condition that a brand new song be written specifically for her, which an intoxicated Rice had drunkenly offered and promised. When confronted by Roth about his promise upon learning of it from Braxton a few days later, within 24 hours Rice successfully discovered a location within the musical in which to include a new song, specifically "Where Belle tells Maurice about how the time that she spent with the Beast in his castle has changed her." That song ultimately became the ballad "A Change in Me", which lyrically addresses the ways in which Belle's initial motivations have ultimately changed during her imprisonment, explaining to Maurice that she has matured and no longer longs for what she originally cited in "Belle (Reprise)". Braxton premiered the song in the form of a live performance on The Rosie O'Donnell Show. Both the song and Braxton's performance were well received, and "A Change in Me" has been included in the musical ever since. Eisner especially enjoyed the song, demanding that it be included in international productions as well, to which he personally traveled in order to teach it to the cast.
David Friedman served as music supervisor, while John Petrafesa Jr. handled sound design. Unlike in the film, Belle actually performs and dances alongside the enchanted objects during "Be Our Guest", which resembles "a high-energy Vegas number" similar to the musical Ziegfeld Follies. The original Broadway cast recording of Beauty and the Beast was released by Walt Disney Records in 1994. Similar cast albums followed suit, including Australian and Japanese recordings in 1994 and 1996, respectively. "A Change in Me" has yet to be included on any official English-language cast recordings though the original Belle, Susan Egan included it on her album So Far.
Set and costumes[]
Stanley Meyer designed the original production's set. Following Disney's instructions "to make the animated film come to life", Meyer's set was very much a similar interpretation of the film. Meyer found it "tricky" to translate two-dimensional environments from on screen into a three-dimensional world on stage. The West Wing's appearance has mirrors of its resident the Beast, being hideous on the outside but beautiful when the audience is finally sees the inside of it. In stark contrast to popular musicals The Phantom of the Opera and Into the Woods, Beauty and the Beast's set resembles a hybrid of Gothic Victorian and Louis Quinze.
Disney park company CEO hired costume designer Ann Hould-Ward to design the musical's costumes because the studio enjoyed a "certain aesthetic" she had used in her previous work, and allowed her much creative freedom. Roth was particularly impressed with the designer's contributions to the musicals Sunday in the Park with George and Into the Woods. Hould-Ward accepted Disney's offer because she was interested in seeing exactly how a corporate company producing a Broadway musical for the first time would "change the Broadway world." Conceptualization began in summer 1992. For research purposes, Disney encouraged Hould-Ward to reference the animated film; Linda also researched clothing worn throughout the late 18th century, during which the original fairy tale was written, and spent one year researching household items the way they looked during the mid-1700s. Additionally, Hould-Ward visited with Beauty and the Beast's original animators, spending one week learning how they created their characters to ensure they would be recognizable to those from the film. However, Hould-ward also decided her own creations would not exactly replicate the film's. Basing the costumes on the Rococo art movement, Hould-Ward presented her initial ideas to Eisner & COO Frank Wells. Once approved, Hould-Ward and her team spent the following year creating prototypes of each major costume. With a long work schedule of two years, Hould-Ward recalled "this kind of timeline... wasn't the norm in a Broadway musical" at the time.
Physically designing Beauty and the Beast's costumes was more collaborative between designer and actor than most other Broadway productions Hould-Ward previously worked on,she frequently sought input from the cast to make sure they were able to move. Designing Belle's costumes was "easy" task for Hould-Ward; the character was originally dressed in standard Disney heroine attire until replaced with more elaborate costumes, once Belle meets the Beast. Hould-Ward based the character's famous yellow ballgown from several historic portraits. The gown became the first costume built for the production to accommodate Disney's mandate to market the dress in photoshoots and commercials starring Susan and Terrence, six months prior to rehearsals. Weighing 45 pounds, the dress is a combination of various patterns and materials, including a hoop skirt, silk, brocade, beading, flowers and bows. Too large to fit inside Egan's dressing room after the ballroom sequence, undressing required help from three backstage crew members they used wires to hoist the dress into the rafters, it would be stored until the next performance. A lot of time spent designing the Beast's costume, physically creating was especially challenging due to requirements to "allow vocal movement of the performer to show through." Hould-Ward's initial designs for the Beast were constantly rejected by Katzenberg, who reiterated that she "put the movie onstage" until the producer realized that the excessive prosthetics were limiting Mann's vocal performance. A wire frame was utilized to maintain the costume's shape, which evokes heavy metal fashion until substituted for a black Oscar de la Renta-inspired velvet suit when the Beast finally transforms into a prince. Hould-Ward designed the leads' costumes from the perspective of her daughter Leah, explaining, "when Leah comes to see the show, she remembers from the movie that the Beast was in that blue jacket. Leah expects that blue jacket, and if you don't give it to her, she and a lot of other ten-year-olds are going to be sad". At same time, the designer wanted her creations to be equally interesting on an intellectual level for parents to enjoy also.
The challenge of designing Belle and the Beast's costumes in comparison to the difficulty of creating the enchanted objects, of several costumes including intricate wiring, prosthetics and pyrotechnics. Scale was the most prominent "obstacle" for Hould-Ward's to overcome: "The original problem of presenting an actor as a life-sized teapot when the characters in the animation were little in comparison". Because the castle's enchanted staff is slowly transforming into objects, shown at various stages of transformation without completely becoming the objects themselves, Hould-Ward was required to create several different costumes for each character to depict the transformation as the show progresses. Meanwhile, the costume of Lumiere alone, was originally built by a team of forty people, including the bases of a prosthetic candle, hair and Vac-U-Form specialist; pyrotechnician, responsible for equipping the costume's pyro unit with butane & a man operating the butane tank were each separate individual. While transforming animation into real life, Hould-Ward also worked on adding the physic to each costume, explaining, "I wanted the reality of the real person rather than the fantasy of the object… The essence of my job is to allow our real actors to take you to this fantastical place." A system of wired frames was used to help actors support their characters' heavy outfits. Such elaborate costumes had never been designed for a Broadway production before. Cogsworth's costume features a fully functioning clock on his face. Meanwhile, Madame de la Grande Bouche was the production's most expensive costume.
The musical originally relied on heavy prosthetics and elaborate costuming in an attempt to make the musical resemble the film as closely as possible. In an attempt to replicate the film's famous movie poster, Egan was dressed in flats while Mann was standing on heel hight stilts to establish a more dramatic height difference. According to Egan, the studio "didn't trust the audience's ability to suspend disbelief, something theater-goers are routinely asked to do." However, the company finally began to relent as the production neared Houston tryouts after a final run-through which the actors did not wear costumes; thus, the prosthetics were gradually lessened and replaced by make up for the Beast and enchanted objects during 1993 previews. The elaborate costumes resulted in their fair share of technical difficulties, malfunctions and performance restrictions, many of which manifested during the seven-week tryouts in Houston. The costumes left little room for performers to change between scenes, and air conditioners were fastened to them regulating the air temperature. In general, the weight of the enchanted objects' costumes limited dancing. Chiropractors and therapists remained on standby to assist Beth Fowler, her Mrs. Potts costume required to always keep one arm in the air. Beach compared holding up two propane tanks used to represent Lumiere's candles to carrying two hams around a grocery store two and a half hours. To build his stamina, Beach would carry the tanks during rehearsal. Beach's hand caught fire during one performance, which not noticing until Mann subtly pointed it out using "furtive head nods". While dancing, the movement of Egan's heavy ballgown caused its skirt to constantly pull her in opposite direction of which way she turned. Mann likened performing in the Beast's costume to wearing several heavy winter coats, comparing the wig to "four Angora cats and gaffer taping them to your head and then running around the block 10 or 12 times." Disney was outraged, after their first performance at the Palace Theatre, The New York Times published discribing Al Hirschfeld's line drawing interpretation of Belle and the Beast's pose, in which Belle's yellow gown was colored pink, and the Beast's tuxedo appeared greenish as opposed to royal blue. When Disney confronted Hirschfeld, the artist defended his work, explaining, "The costumes may have been blue and yellow, they make me feel green and pink." Hould-Ward adjusted the costumes to accommodate the locations as the production traveled to various theaters.
Lighting and special effects[]
Lighting designer Natasha Katz was hired to work on Beauty and the Beast. When Disney first approached Katz to offer her the job, several of Katz's cohorts – specifically other lighting designers – attempted to discourage her from accepting in fear of changing the appearance of musical theater forever. In hindsight, Katz defended Disney's work, explaining, "Beauty and the Beast didn't bring theatre back to New York, but it did change the dynamic, no question about it, of the business." Known for assisting David Copperfield with his illusions, Roth hired Jim Steinmeyer to work on Beauty and the Beast. Steinmeyer had previously contributed to the musical Merlin. The Beast's transformation sequence during the second act was much-discussed. It took about 11 weeks to set the design.
Synopsis of the Original Broadway production[]
Act I[]
We open on a dark stage illuminated with fog as we hear the voice of an unseen Narrator begin the Prologue:
"Once upon a time, in a faraway land,
A young Prince lived in a shining castle.
Although he had everything his heart desired,
The Prince was spoiled, selfish, and unkind.
But then, one winter's night,
An old beggar woman came to the castle
And offered him a single Rose
In return for shelter from the bitter cold.
Repulsed by her haggard appearance,
The Prince sneered at the gift,
And turned the old woman away.
But she warned him not to be deceived by appearances,
For Beauty is found within.
And when he dismissed her again,
The old woman's ugliness melted away
To reveal…
…A beautiful Enchantress.
The Prince tried to apologize, but it was too late,
For she had seen that there was no love in his heart.
As punishment, she transformed him…
…Into a hideous Beast,
And placed a powerful spell on the castle,
And all who lived there.
Ashamed of his monstrous form,
The beast concealed himself inside his castle,
With a magic mirror as his only window to the outside world.
The Rose she had offered was truly an enchanted rose,
Which would bloom for many years.
If he could learn to love another,
And earn her love in return by the time the last petal fell,
Then the spell would be broken.
If not, he would be doomed to remain a beast for all time."
As the question "Who could ever learn to love a beast?" is stated, we are introduced to the heroine of our story, a beautiful young girl named Belle makes her way into town one morning to get a book from the local bookseller. On the way, she expresses her wish to live in a world like her books, full of adventure, while the townspeople note her unparalleled beauty but find her love of books odd ("Belle"). Belle has also attracted the attention of Gaston, the local hunter and town hero, who admires her only for her beauty. Belle, however, is not oblivious to her peers' views of her, and voices her concerns about it to her eccentric father and inventor, Maurice, who assures her that she is anything but strange ("No Matter What"). The two then put the finishing touches on his invention, and Maurice heads off to an invention fair donning a scarf knitted for him by Belle ("No Matter What (Reprise)"), but becomes lost in the woods and is attacked by a pack of wolves. After surviving the wolf attack, he enters the Beast's castle, where he meets the servants, including Lumiere, a maître d' turned into a candelabra, Cogsworth, the head of household turned into a clock, Babette, a maid turned into a feather duster, Mrs. Potts, the head of the kitchen turned into a teapot, and Chip, her son turned into a teacup. They welcome him, but the horrid Beast arrives and locks Maurice away in the dungeon for trespassing.
Back in town, Gaston proposes to Belle, which she politely rejects ("Me"). Appalled by Gaston's forwardness, Belle once again voices her need for a life outside this provincial life ("Belle (Reprise)"). Gaston's sidekick, LeFou, returns from the woods wearing the scarf Belle knitted for Maurice. Belle realizes her father is in danger and heads into the woods to look for him. She ends up at the castle, where she finds her father locked away in a dungeon. She makes a deal with the Beast, Maurice goes free, but she remains instead. They agree, and Maurice is sent back to town without being allowed to say goodbye. Belle is given a guest room and ordered by the Beast to join him for dinner. She mourns her situation ("Home"), but Mrs. Potts and Madame de la Grande Bouche, an operatic wardrobe, attempt to cheer her up ("Home (Reprise)").
Back in town, at the local tavern, Gaston sulks at his loss of a bride, though LeFou and the patrons successfully attempt to cheer him up ("Gaston"). When Maurice rushes in, claiming a Beast has Belle locked away, they laugh at him, but Gaston is inspired by Maurice's claims to formulate a sinister plan ("Gaston (Reprise)"). Back at the castle, the Beast grows impatient as Belle has yet to join him for dinner, and when Cogsworth informs him she refuses to come, a shouting match between Belle and the Beast ensues (which ends in a victory for Belle), and the Beast then tells her if she cannot eat with him, then she will not eat at all. He storms back to his quarters and begins to sulk, noting his fate should the spell not break ("How Long Must This Go On?"). Eventually, Belle does become hungry and ventures into the kitchen where the servants offer her dinner despite their master's orders, and they treat her to an amazing cabaret show ("Be Our Guest").
After dinner, Belle gets a tour of the castle courtesy of Cogsworth and Lumière. Her curiosity leads her to enter the West Wing, a place the Beast told her was forbidden. Mesmerized by a mysterious rose floating in a bell jar, she reaches out to touch it, but before she can, the Beast stops her and orders her to get out, accidentally shoving her in the process. Fearing for her life, Belle flees from the castle. Realizing his mistake, the Beast knows he will be a monster forever if he cannot learn to love her ("If I Can't Love Her").
Act II[]
In the woods, Belle is attacked by wolves and is only rescued when the Beast comes to her aid, but he is injured during the fight and collapses ("Entr'acte/Wolf Chase"). Instead of taking the chance to run home, Belle helps him back to the castle. She cleans his injuries, and after a brief argument about whose fault this is, the Beast thanks her for her kindness, and thus, their friendship is born. Wanting to give her a thank-you gift, the Beast gives Belle his huge library, which excites her. She notes a change in the Beast's personality as the servants note a change in Belle and the Beast's relationship ("Something There"). They express their hope of being human once more ("Human Again"), while Belle asks the Beast to accompany her to dinner that night.
Back in the village, Gaston meets with the asylum owner Monsieur D'Arque. They plan to lock Maurice away to blackmail Belle into marrying Gaston ("Maison Des Lunes").
In the castle, the Beast and Belle attend a lovely dinner and personal ball, where they dance together ("Beauty and the Beast"). The Beast, who plans to tell Belle he loves her, asks Belle if she is happy here, to which she responds positively but notes that she misses her father. He offers her his Magic Mirror to view him, and she sees that Maurice is sick and lost in the woods and fears for his life. Even though the Beast knows there are only a few hours left till the last petal falls from the rose, he allows Belle to leave to save her father; she departs after a bittersweet goodbye ("If I Can't Love Her (Reprise)").
Belle finds her father and brings him back to their house in the village. After she nurses him back to health, she explains the transformation she seems to have gone through while she was with the Beast ("A Change in Me"). A mob arrives, led by Gaston to take Maurice to the asylum. Belle proves her father's sanity by showing the townspeople the Beast is real using the Magic Mirror, but doesn't realize the error in her gesture. The townspeople immediately fear the Beast, but Belle insists he's gentle and kind. Gaston catches her tone and recognizes the Beast as his rival for Belle's affections and organizes the mob to "Kill the Beast" ("The Mob Song"). Belle and Maurice race of to the castle to warn the beast. At the castle, the servants are able to keep the lynch mob at bay but Gaston breaks through and finds the Beast in his tower. He engages in a fight with him, mercilessly beating and taunting him. The Beast has lost the will to live at Belle's departure. As Gaston moves in for the killing blow, Belle arrives. The Beast immediately turns on Gaston and is prepared to kill him, but spares his life after seeing the fear in his eyes. The Beast and Belle are reunited, but this reunion is cut short as Gaston stabs the Beast in the back. This act of violence causes Gaston to lose his footing and he falls to his death.
On the balcony, Belle assures the Beast he will live but they both know she is helpless to save him. She begs him not to leave her because she has found home in his company, but the beast closes his eyes. Thinking that he was dead, Belle whispers "I love you" just before the last rose petal falls. A transformation takes place and the Beast is alive and human once more. Though Belle does not recognize him at first, she looks into his eyes and sees the Beast within and they kiss. The two sing of how their lives have changed because of love and they dance once more as the company, now changed back to their human form, gathers in the ballroom ("Transformation/Finale").
Cast[]
- For more in depth information, see Beauty and the Beast cast lists.
| Production | Beast | Belle | Gaston | Lumiere | Cogsworth | Mrs. Potts | Chip | Maurice | LeFou | Madame de la Grande Bouche | Babette | Monsieur D'Arque |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Original Broadway cast | Terrence Mann | Susan Egan | Burke Moses | Gary Beach | Heath Lamberts | Beth Fowler | Brian Press | Tom Bosley | Kenny Raskin | Eleanor Glockner | Stacey Logan | Gordon Stanley |
| Australia | Michael Cormick | Rachel Beck | Hugh Jackman | Grant Smith | Bert Newton | Robyn Arthur | Paul Cheyenne | Ernie Bourne | Alinta Carroll | Gloden Mercer | Zachary McKay | |
| London | Alasdair Harvey | Julie-Alanah Brighten | Burke Moses | Derek Griffiths | Barry James | Mary Millar | Anthony Clegg | Billy Boyle | Kate Graham | Karen Davies | Ben Butterfield |
Variations from the 1991 film[]
Characters[]
- The three town Bimbettes (or Silly Girls as they're called in the musical) plead Gaston to choose one of them over Belle on his way to her cottage; he smugly assures them that his marriage to Belle will have no effect on any future rendezvous he will most likely have with them, meaning that he would not be a very faithful husband to Belle and would cheat on her constantly with the other women of the village. The Bimbettes also have more dialogue and an expanded role than in the film (including wailing and crying like infants before Me even begins), including actually witnessing and even partaking in the mocking of Maurice's claims about the Beast holding Belle prisoner, though they still don't appear during The Mob Song. In addition, they are implied to not be waitresses in this version due to being dismissed from the tavern alongside everyone else except LeFou in the reprise. In addition, their witnessing (and reacting angrily) to Belle's initial refusal towards Gaston was cut, presumably in order to avoid any implications that they might have supported Belle going with Gaston, and they are also shown to be gossiping about Belle in the opening song, when in the film, they only comment on Gaston passing by.
- In addition, in the musical, the Silly Girls are depicted in a more garish light in terms of physical appearances instead of being extremely attractive in the film. This was presumably done in order to further highlight Belle's status as the most beautiful woman in the village.
- Philippe is removed from the story. Instead, Belle knits Maurice a scarf for good luck for his trip to the inventors' fair. After he becomes a prisoner of The Beast, the scarf is found in the woods "near the crossroads" by LeFou - having been sent there by Gaston to fetch a deer for the feast after his presumed marriage to Belle - and worn back to town (not knowing who it belongs to), thereby alerting Belle to her father's disappearance. She heads into the woods on foot.
- The Feather Duster's name is Babette. In the film, it never says her name just like the wardrobe.
- The Wardrobe in Belle's room (unnamed in the Disney film) is called Madame de la Grande Bouche and revealed to be a former famous opera diva, something that had previously only been alluded to in the Marvel Comic serial's second and twelfth issue.
- The dog-turned-footstool of the castle is not present in this version.
- Chip, though present, has his role greatly diminished due to the difficulty of pulling off his character convincingly. The head of his actor is usually stuck through the tops of tables and rolling carts wearing a teacup-shaped helmet. He is not seen individually mobile until after the spell is broken and he is human again.
Plot points[]
- In the film's prologue, it is stated that the enchanted rose "would bloom until [the Beast's] 21st year." In the stage adaptation, this is changed to an unspecified "many years."
- Prior to the reprise, all of the villagers, except LeFou and Gaston, are dismissed from the tavern shortly before the reprise, while in the film, everyone in the tavern heard the plan Gaston had, or at least enough details about it to deduce what he was planning. This was presumably done to avoid any implications that the villagers were all in the know about Gaston's plan of blackmail and supporting him. In addition, the reprise itself featured expanded lyrics making more clear that Gaston was fully aware of the dirtiness of his plan and has no remorse whatsoever in carrying it out. As a result, Gaston and LeFou sing the final lyrics of the reprise instead of the chorus.
- The magic behind the curse's transformations is slightly modified: Instead of being fully transformed (as shown in the movie), the characters are slowly transforming into their respective objects. Lumiere, Cogsworth, Mrs. Potts, and Babette the Feather Duster lament this fact, revealing that some of the servants have already completely transformed and cannot speak, see, or move; they fear the same will happen to them if the spell is not broken soon, such as Cogsworth gaining a key in his back as the storyline unfolds. In addition, the original film originally implied that the curse's effects were instantaneous for all involved.
- As Lumiere and Cogsworth take Belle on a tour (right before she sneaks off to explore the West Wing), the Beast makes his way to her room with a plate of food in hopes of making amends with her. However, he overhears Belle voicing her distaste of him, and throws the plate away in anger and sulks off.
- A scene only briefly seen in the background in the film is expanded upon, where Belle teaches the Beast to read. Additionally, the book they read in the film is Romeo & Juliet, while in the musical, it is King Arthur.
- During "The Mob Song", Belle and Maurice are not imprisoned in their own basement; instead they decide to get a head start on the angry villagers and sneak off to the castle halfway through the musical number.
- Gaston repeatedly stabs Beast in the back rather than only once before losing his balance.
- After the Beast gets stabbed and Gaston loses his balance, the Beast is seen trying to rush and help him before he falls of the roof.
- After the spell is broken, Cogsworth and Madame de la Grande Bouche appear to have a romantic connection.
- In the Spanish version, only "Beauty and the Beast" keep exactly like in the film, the other songs were slightly modified (some words were different).
Broadway[]
Act I[]
- Overture* — Orchestra
- Prologue — Orchestra
- Belle — Belle and Townsfolk
- No Matter What*# - Maurice and Belle
- No Matter What [Reprise]*#/Wolf Chase* — Maurice
- Me*# — Gaston
- Belle (Reprise) — Belle
- Home* — Belle
- Home (Tag)* — Mrs. Potts / Madame de la Grande Bouche (Jr. Broadway)
- Gaston† — Gaston, Lefou and townsfolk
- Gaston (Reprise)† — Gaston and Lefou
- How Long Must This Go On?*# — Beast
- Be Our Guest† — Lumiere and Enchanted Objects (Ensemble)
- If I Can't Love Her*# — Beast
Act II[]
- Entr'acte/Wolf Chase* — Orchestra
- Something There — Belle, Beast, Lumiere, Mrs. Potts, Cogsworth, and Chip
- Human Again‡ — Lumiere and Enchanted Objects (Ensemble)
- Maison des Lunes# - Monsieur D'Arque, Gaston and Lefou
- Beauty and the Beast — Mrs. Potts
- If I Can't Love Her (Reprise)*# — Beast
- A Change in Me# — Belle
- The Mob Song — Gaston and the Mob
- The Battle* - The Mob and Enchanted Objects
- Home (Reprise)* — Belle
- Transformation* — The Company
- Finale — The Company
* New song or instrumental cue
† Expanded vocal or instrumental content, using either cut lyrics by Ashman or dance arrangements by Glen Kelly, or both.
‡ "Human Again" was written by Menken and Ashman for the movie, but was cut, due to the complications it made on the film's timeline. It was repurposed for the Broadway play, and on account of the musical's great success, an entirely new animated sequence based on the Broadway version was set to this song and inserted into 2002's Special Edition DVD release.
§ "A Change in Me" was written into the show in 1998 and was retained thereafter.
- not in the Junior Broadway show.
† "No Matter What" was not included in the Broadway tour.
Gallery[]
Trivia[]
- Susan Egan, who played Belle, went onto voice Megara in the 1997 film Hercules.
References[]
External links[]
- Beauty and the Beast France
- Beauty and the Beast on Tour
- Beauty and the Beast at Internet Broadway Database
- Beauty and the Beast on Disney Musical Wiki
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