Beauty and the Beast (musical)
Beauty and the Beast is a Disney stage musical with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and a book by Linda Woolverton. Adapted from Walt Disney Pictures' Academy Award-winning 1991 animated feature musical film of the same name – which in turn had been based on the classic French fairy tale by Jeanne-Marie Leprince de Beaumont –[1] Beauty and the Beast 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 before it is too late.
This article is about the stage musical adaptation. For the live show at Disney's Hollywood Studios theme park, see Beauty and the Beast Live on Stage.Beauty and the Beast
Beauty and the Beast
by Linda Woolverton
Critics, who hailed the film as one of the year's finest musicals, 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),[2] 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. It has also become a popular choice for junior, amateur and high school productions.[3]
Development[edit]
Writing and screen-to-stage modifications[edit]
Roth summarized Beauty and the Beast as a story about "seeing past the exterior of a person and into his or her heart".[11] 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".[10] 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.[17] The writer expanded the story by both "fleshing out" each character and allowing room for new musical numbers.[18] Namely, Woolverton made the Beast a more threatening yet sympathetic figure;[17] 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".[19] Meanwhile, the book-loving Belle was adapted into a more headstrong and determined heroine.[17] 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.[20]
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."[15] 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.[17] 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.[21] 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,[17] in turn providing the audience with an opportunity to care about the supporting characters dramatically.[22]
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.[16] 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.[21][23] 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).[24] 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.[25]
Synopsis[edit]
Act I[edit]
On a cold winter's night, an old beggar woman comes to a young spoiled prince's castle, offering him a single rose in return for shelter, but the prince turns her away solely for her appearance. The woman warns him not to be fooled by appearances, as true beauty lies within, only to be rejected again. She then transforms into a beautiful enchantress and turns the prince into a hideous Beast and his servants into various household objects, while giving him the rose to use as an hourglass. The only way he can break the spell is to learn to love another and earn her love in return before the last petal falls ("Prologue").
Ten years later, 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 Lumière, 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[edit]
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 and LeFou meet with the local insane asylum owner Monsieur D'Arque, and they plan to lock Maurice away to blackmail Belle into marrying Gaston ("Maison des Lunes").
The Beast and Belle attend a lovely dinner and personal ball, where they dance together in the ballroom ("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 tearful 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, but Belle proves her father's sanity by showing the townspeople the Beast is real using the Magic Mirror, but does not realize the error in her gesture. The townspeople immediately fear the Beast, but Belle insists that he is 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 ("Mob Song"). To warn the Beast, Belle and Maurice attempt to beat the mob to the castle, but they arrive too late as Gaston and the mob reach the castle.
The servants keep the lynch mob at bay ("The Battle"), but Gaston breaks through and finds the Beast in his tower. He engages in a fight with him, mercilessly beating and taunting him, but 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 fatally stabs the Beast in the back, but this act of violence causes Gaston to lose his footing, and he falls to his death.
On the balcony, Belle assures the Beast he'll live, but they both know she is helpless to save him. She begs him not to leave her because she has found a home in his company ("Home (Reprise)"), but despite this, he dies; Belle sobs on his body and whispers "I love you" just as the last rose petal falls. A transformation occurs, 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 of them sing of how their lives have changed because of love and they dance once more as the servants, now changed back to their human form, gathers in the ballroom ("Transformation/Finale").
Productions[edit]
Houston (1993)[edit]
Beauty and the Beast premiered in a joint production of Theatre Under The Stars and Disney Theatrical at the Music Hall, Houston, Texas, from November 28, 1993, through December 26, 1993. Previews began November 27, 1993.
Instrumentation[edit]
Music Theatre International offers two orchestrations for Beauty and the Beast.
The "Standard Orchestration", of the licensed version of the show is the bigger orchestration, based on the original Broadway arrangements and the revisions for the Stage Entertainment production. It is scored for three synthesizers (the first playing piano and celeste, the second augmenting different sections and the third augmenting the string section),[75] a drum kit (including glockenspiel), a percussion section, double bass, three woodwind players, three French horns in F, two trumpets in B-flat, trombone, divided violins (with a minimum of two players), cello, and a harp. The first woodwind player doubles on flute and piccolo, the second on English horn and oboe, and the third on clarinet, bass clarinet, and flute. The trombonist doubles on bass trombone and tuba and both trumpeters double on piccolo trumpet.
The original Broadway orchestration, orchestrated by Danny Troob, featured a string section of 6 violins and 2 celli, and two additional woodwind players. The first played flute and piccolo, the second oboe and English horn, the third piccolo, flute and clarinet in B-flat, the fourth piccolo, flute, clarinet in B-flat and bass clarinet in B-flat, and the fifth on bassoon and contrabassoon. The excised reed parts and the larger string section were used for the synthesizer parts upon their removal for the licensed orchestration..
The "Alternate Orchestration", offered by Music Theatre International when licensing the show, is a reduced orchestration for 11 players. It is scored for percussion (including Drum Kit, Glockenspiel and other instruments), double bass, three woodwind players, a brass section consisting of a trumpet (doubling on flugelhorn) and French horn, violin, cello, synthesizer and piano (optionally doubling synthesized harp and celeste). This orchestration has the option to be piano conducted (the conductor plays the piano part and conducts), though some shows have a separate conductor and pianist.
For the Stage Entertainment productions of the show; Danny Troob re-orchestrated the score for 14 players. This new arrangement was mostly based on the licensed orchestration, with the string section played on keyboard 3. It was scored for three synthesizers, a percussion section, (including drums and glockenspiel), double bass, three woodwind players, two French horns in F, a trombone (doubling on bass trombone and tuba), two trumpets in B-flat, and a harp. However, Stage Entertainment soon started reducing the size of their orchestras for the production, replacing musicians with the electronic software KeyComp. The pit for the Paris production and for the 2016 Dutch revival were composed of seven musicians (two keyboards, three woodwind players, a percussion section, and a single French Horn).[76][77]
The third UK tour of the musical introduced reworked dance arrangements, and a new orchestration and vocal arrangements (some of them closer to the 2017 movie). The score was reorchestrated for 10 players, who play using the electronic software KeyComp.[78] It is scored for two synthesizers, two woodwind players, 1 trombone (doubling bass trombone), 1 french horn in F, 1 trumpet in B flat, 1 violin, 1 cello and a player playing both percussion and a drum kit.
Recordings[edit]
The Original Broadway Cast Recording was released on April 26, 1994. The CD included Susan Egan as Belle, Terrence Mann as Beast, Burke Moses as Gaston, Gary Beach as Lumière, Tom Bosley as Maurice, Anna McNeeley as Madame de la Grande Bouche and Beth Fowler as Mrs. Potts. The album was certified gold by the RIAA on December 7, 2000.[79]
The Original Australian Cast Recording was released in 1995. The principal cast included Rachael Beck as Belle, Michael Cormick as Beast, Hugh Jackman as Gaston, Ernie Bourne as Maurice, Toni Lamond as Madame de la Grande Bouche, Grant Smith as Lumière, Robyn Arthur as Mrs. Potts and Bert Newton as Cogsworth.
The Original Vienna Cast Recording was released in 1996. The principal cast included Ethan Freeman as Beast, Caroline Vasicek as Belle, Kevin Tarte as Gaston, Viktor Gernot as Lumière, Ann Mandrella as Babette, and Rosita Mewis as Mrs. Potts.
The Original London Cast Recording was released in 1997. The principal cast included Julie-Alanah Brighten as Belle, Alasdair Harvey as Beast, Burke Moses as Gaston, Derek Griffiths as Lumière and Mary Millar as Mrs. Potts.
The Original Stuttgart Cast Recording was released in 1998. The principal cast included Uwe Kroger as Beast and Leah Delos Santos as Belle and Ann Mandrella as Babette.
The Original Madrid Cast Recording was released in 1999. The principal cast included Xenia Reguant as Belle, Carlos Marín as Beast, Lisardo Guarinos as Gaston, Víctor Ullate Roche as LeFou, Germán Torres as Lumière, David Venancio Muro as Cogsworth and Kirby Navarro as Mrs. Potts. A second cast recording for the new production was released in May 2008, starring Julia Möller as Belle, David Ordinas as Beast, Pablo Puyol as Gaston, Raúl Peña as LeFou, Armando Pita as Lumière, Esteban Oliver as Cogsworth and Angels Jiménez as Mrs. Potts.
The Original Dutch Cast Recording was released in 2005. The principal cast included Chantal Janzen as Belle, Stanley Burleson as Beast, René van Kooten as Gaston, Carlo Boszhard as Lumière, Ger Otte as Tickens (Cogsworth) and Mariska van Kolck as Mrs. Potts.
Junior version[edit]
A "junior" version of the musical for middle students was published by Music Theatre International, who also owns the rights for the full length version, aptly titled Beauty and the Beast Jr. This version only included a selected number of the songs, including "Belle", "Belle (Reprise)", "Home", "Home (Tag)", "Gaston", "Gaston (Reprise)", "Be Our Guest", "Something There", "Human Again", "Beauty and the Beast", "The Mob Song", "Home (Reprise)", and "Beauty and the Beast (Reprise)". Also in "Belle (Reprise)", The Silly Girls sing Belle's part in the beginning of the song instead of Belle having to sing the whole song. Also in "Something There", Madame de la Grande Bouche and Babette sing as well.
Critical reception[edit]
Reception towards the tryouts in Houston were so enthusiastic that the production was extended for two weeks.[26] Jerome Weeks of Variety responded to the show with a positive review, praising the performances of Egan, Mann and Moses, as well as the Beast's new song "If I Can't Love Her". At the same time, Weeks felt that the production "gets close to slipping into a big-budget kiddie show or magic act with its overdone showbiz glitz and sparkly stage-illusion effects" at times, but in the end predicted that "'Beauty and the Beast' could well be the big new musical hit this Broadway season has been waiting for."[12] However, in 1994, Beauty and the Beast finally premiered on Broadway to reviews that ranged from mixed to negative,[13][80][81][18] leaving critics mostly unimpressed.[6] Reactions from the New York theater community and Broadway producers were particularly harsh, ridiculing Disney for deciding to produce the musical themselves as opposed to enlisting traditional theater companies.[27] Egan recalled that "the same five families [had] produced Broadway shows for a hundred years and Disney shook that up."[27]
Nearly universally panned by theater critics,[16] they concurred that Beauty and the Beast was a "great spectacle, but not great theater".[26] Likening the musical to the Empire State Building, David Richards of The New York Times called the show "hardly a triumph of art, but it'll probably be a whale of a tourist attraction." While awarding specific praise towards its musical numbers, choreography, costumes and cast – particularly Mann's ability to "convey the delicacy of awakening love" despite the physical demands of his costume, at the same time Richards criticized the production's set and special effects for lacking subtlety, ultimately accusing them of leaving little "to the imagination". Richards concluded, "The result is a sightseer's delight, which isn't the same thing as a theatergoer's dream."[42] Also writing for The New York Times, Vincent Canby disparaged the musical entirely as "relentlessly bland, busy, upbeat and robotlike", criticizing the production for resembling "a dinner theater". Canby felt that the new Menken-Rice songs were "inferior" to the originals, likened the special effects to Fourth of July sparklers, criticized the sound engineering for ranging from too loud to barely audible, and panning Woolverton's book for failing to supplement her screenplay. Minor praise was awarded to the performances of Lamberts, Beach and Fowler, as well as Mann's climactic beast-to-prince transformation.[82] In addition to predicting that Beauty and the Beast would be derided by traditional Broadway theatre-goers and critics alike, Variety writer Jeremy Gerard was largely negative in his own review. While admitting that the production "boasts several real pluses", Gerard criticized the show for appearing "bloated, padded, gimmick-ridden, tacky and ... utterly devoid of imagination." The critic voiced his strong disapproval of the costumes while dismissing the set as "something designed to be seen by people in moving seats, maybe at Disneyland", panning West's choreography and ultimately deriding Roth's directing and blocking of actors who "look generally like they're following dotted lines on the stage."[19] Critics agreed that Roth's direction and West's were equally uninspired.[16] In a mixed review with a headline reading "Beauty and the Beast isn't magical in the least, even if it does bristle with magic tricks", New York's John Simon wrote that the production resembles "a belated infomercial" for the film by which he was bored, yet impressed by its special effects and illusions. Simon also felt that the actors struggled to resemble their animated counterparts despite Hould-Ward's costumes, criticizing Egan's acting, Woolverton's dialogue and the new Menken-Rice numbers while praising Moses', Beach's and Fowler's performances.[25]
Audiences did not share critics' negative opinions,[13][18] and the musical famously resonated with the public and families.[16][81] Children were especially delighted by the idea of their favorite movie performed on stage by live actors.[1] Subsequent productions have gradually attracted kinder remarks; the national tours in particular have been well received.[81] Reviewing a performance of the musical at the Shubert Theatre in Los Angeles in 1995, Tom Jacobs of Variety wrote, "Born in Hollywood as an animated film, Disney's version of 'Beauty and the Beast' has returned home as an opulent stage musical, a year after its Broadway bow. Both good and bad choices have been made in adapting the 1991 film, but with its outstanding performances, fantastic production values and memorable score, this show should warm the hearts of all but the most curmudgeonly theatergoers." However, Jacobs felt that the production suffered from the lack of danger felt watching the film.[20] After having been left unimpressed upon viewing the original Broadway production, Variety's Matt Wolf was pleasantly surprised by the musical's West End debut one year later.
Impact and legacy[edit]
Largely due to audience reception, Beauty and the Beast remains one of Broadway's biggest successes of the current era.[1] Beauty and the Beast established itself as a musical that could survive on Broadway despite its unenthusiastic reviews.[25] Several detractors had thought that musicals like Beauty and the Beast would be a one-time event, but the results ultimately turned out to be quite the opposite.[37] According to theatrical producer Stuart Oken, Disney's success with Beauty and the Beast is responsible for today's biggest Broadway hits and making the medium "better than it has ever been".[8] The groundbreaking performance of Beauty and the Beast inspired other major Hollywood studios to produce Broadway renditions of some of their own films.[27] Disney soon began to commission Broadway adaptations of several of the studio's most popular musical films, namely The Lion King (1997), Mary Poppins (2004), Tarzan (2006), The Little Mermaid (2008), Newsies (2012), Aladdin (2014), and Frozen (2018),[1][83] in addition to producing the musical Aida.[16] After completing her run in Beauty and the Beast, Egan would famously go on to voice Meg in Disney's animated musical Hercules (1997), establishing herself as a popular voice and film actress.[13] Following the success of "Human Again", the song was later incorporated into reissues of the animated film in the form of an animated musical sequence.[16]
Beauty and the Beast is considered to be Broadway's first legitimate family show,[13] responsible for birthing an entirely new generation of young theatergoers.[16] The family demographic of the musical established inspired international productions of Aladdin and Matilda.[13] According to The Complete Book of 1990s Broadway Musicals author Dan Dietz, "the show's resounding success opened the floodgates for a spate of ... productions based on Disney and other family-oriented films", transforming Broadway into "a theme park with a parade of musicals aimed at kids and teenagers."[1] Dietz believes that the plethora of Broadway musicals that came after Beauty and the Beast have unfortunately resembled "feel-good family show[s] whose goal was to emulate its film source."[1] Additionally, the success of the musical inspired a legion of Broadway productions geared towards young women, including Hairspray (2002), Wicked (2003), Legally Blonde (2007), Matilda (2013) and Rodgers and Hammerstein's Cinderella (2013).[1] While these musicals flourished on Broadway, it seems as though more serious, adult-oriented fare struggled to perform as well.[1] New York theater critic Howard Kissel famously despised "the Kiddy Komponent of New York theatergoing" spearheaded by the successful 13-year Broadway run of Beauty and the Beast.[84] The success of Beauty and the Beast inspired Eisner to invest in his own theater to house future stage adaptations of the studio's animated classics.[85]
Original arrangements of some of the show's original songs can be heard playing in the Belle's Village area of Fantasyland in Tokyo Disneyland, which opened September 28, 2020.[86][87]