COMPLETE REVIEWS OF BEAUTY AND THE BEAST

Christine Howey, Cleveland Scene
Zachary Lewis, The Plain Dealer
Fran Heller, Cleveland Jewish News
James Damico, The Free Times
Roy Berko, Times Newspapers
Thomas Mulready, CoolCleveland
Art Thomas, West Life
Herb Hammer, Chagrin Valley Times
Kelly Ferjutz, CoolCleveland
Fran Heller, Backstage
Mary Bodnar, Lakewood Observer

Cleveland Scene review
Beast Unleashed
Beck Center mounts a terrific retelling of Disney's Beauty and the Beast
By Christine Howey

There are few musical theater pleasures that can equal seeing a supremely talented cast under the guidance of a director who knows how to stage a production, from the grand sweep of crowd scenes to the tiny sparks hidden in smaller moments. Happily, this is all on display in an enthralling evening: Disney's Beauty and the Beast at the Beck Center.

Director Fred Sternfeld has assembled a kickass company of stellar performers, who turn this sturdy and family-friendly material (music by Alan Menken, lyrics by Howard Ashmen and Tim Rice, book by Linda Wolverton) into a lively and genuinely touching tribute to the humanity that goes more than skin deep. Based on the animated Disney movie about a selfish young prince who is put under a spell by a beggar woman seeking shelter, the stage version adds some depth and resonance to certain characters.

Natalie Green is lovely, fresh, and unaffected as Belle, the beauty who falls into the clutches of the Beast living in a mysterious castle in the woods. Green delivers her solos, "Home" and "A Change in Me," with clarity and a sure sense of the meaning behind the melody. And as for the Beast, suffice to say that if Dan Folino is performing in a musical somewhere, you are best advised to get in your car, jump on a bus, or hop on a pogo stick to get to the theater. Folino's Beast may be a bit shorter in stature than usual, but he wrings every tender and comedic nuance out of his book scenes. And when he sings, especially in "How Long Must This Go On?" and "If I Can't Love Her," his rich baritone paints a thoroughly involving emotional portrait.

This level of excellence is continued in the over-the-top role of the villainous Gaston, as Josh R. Noble combines a plastic Schwarzenegger grin with a Johnny Cash hairdo to ignite laughs merely with the turn of his head. When he sings his proposal to Belle, crooning, "We shall be the perfect pair/Rather like my thighs," every musical and comic note is hit with perfection. And Zac Hudak is a cringing lickspittle as Gaston's gofer, Lefou, getting knocked hither and yon in service to his master.

Also turning in fine work are the Beast's servants, who were morphed into household items in the same spell that condemned their boss. As Cogsworth and Lumiere (clock and candelabra, respectively) Douglas Collier and Larry Nehring make an amusing Laurel & Hardy duo. Aimee Collier is the teapot Mrs. Potts, and she brews a sweet rendition of the title song. Tracee Patterson is also a hoot as a pretentious chest of drawers.

Ably supported by Martin Cespedes' energetic musical staging and choreography, as well as a simple but entirely effective set by Ben Needham, director Sternfeld succeeds in creating a bountiful Beauty. Just as the Beast finally becomes the handsome prince again in a dazzling bit of stage trickery at the end, this production could transform you into a fan of Disney's familiar fare.

Plain Dealer review
Beauty of 'Beast' production is that it keeps everyone happy
By Zachary Lewis

Pleasing children with Disney's Beauty and the Beast is relatively easy. Pleasing their adult companions isn't. Surprisingly, this production manages to do both. Younger folk familiar with the 1991 animated film no doubt will enjoy hearing songs that aren't in the movie and seeing their cartoon memories brought to three-dimensional life in the Beck Center's cinematic, spare-no-expense spectacle directed by Fred Sternfeld.

More mature theatergoers may not find Alan Menken's score all that enriching, but they should get a kick out of the creative, highly animated choreography by Martin Cespedes - the tavern scene, for instance, in which beer steins accessorize a robust kick line - and the large handful of talented character actors who illuminate the production.

As the beast, Dan Folino strikes exactly the right balance. He's ferocious and obnoxious at first but transforms gradually into someone genuinely likable. His hesitancy in expressing himself to Belle reveals a dramatic ability well above the amateur. He has a decent tenor voice, too.

Similarly, Natalie Green is a thoroughly ingratiating Belle, a spunky, freethinking bookworm type who can also play the rosy-cheeked princess when necessary. Her voice is generally dulcet, even on high notes, although greater pitch accuracy would be an improvement.

The many characters surrounding the leading couple range from competent to excellent. Among the latter: Larry Nehring as the French-accented Lumiere; Douglas Collier as the foppish, uptight Cogsworth; Zac Hudak as the buffoonish Lefou; Kristin Netzband as the buxom Zsa-Zsa Gabor-like feather duster; and Tracee Patterson as Madame de la Grande Bouche, the vanity chest and former opera singer.

The unofficial star of the show, though, is Gaston, Belle's would-be fiance. Josh Noble conjures this self-absorbed spirit perfectly. His plastic hair, wide, toothy grin and ceaseless posturing round out the portrayal.

In visual matters, this Beauty, the first semiprofessional production of the show in the Cleveland area, is a complete success. Complex set pieces and props roll on- and off-stage quickly without interrupting the flow of the tale, while dozens of lavish costumes and the occasional special effect keep the eye occupied. A large cast of technicians deserves credit for the many enchanting illusions, including scenic designer Ben Needham, lighting designer Steven Mack and Toronto-based costume designer Aimee Kluiber. Larry Goodpaster conducts the offstage orchestra.

Worry not, parents. Your kids will love it, and you might even have a good time, too.

Cleveland Jewish News review
Engaging production of ‘Beauty and the Beast’ at Beck
By Fran Heller

In 1994, Disney brought its first musical, Beauty and the Beast, to Broadway, where it is still running.

It’s a testimony to the universal appeal of the classic children’s tale and to consumers with deep enough pockets for tickets whose top price is $110 each. You and the entire family can now enjoy the Disney fantasy for a lot less green at The Beck Center for the Arts, where Beauty and the Beast is being presented through Dec. 31.

Cleveland’s maestro of the mega-musical, director Fred Sternfeld, has mounted a thoroughly engaging production with mostly highs, a few lows, and enough special effects to keep the child within all of us duly enchanted.

For the uninitiated, here’s a brief refresher of the story:

A handsome, but spoiled and selfish, prince turns down a haggard old woman who can only offer him a rose in payment for requested shelter.

The woman, an enchantress in disguise, warns him not to be deceived by appearances for “beauty is to be found within.” She casts a spell on him, transforming him into a beast.

Before the last petal on the rose falls, he must find a woman to love who will love him in return, or else he will remain a beast forever.

Prior to seeing the Beck production, I rented the 90-minute animated film version created in 1991 by Alan Menken (music) and Howard Ashman (lyrics), both Jewish, whose title song won the Oscar for Best Song and for Menken, an Oscar for Best Original Score.

Ashman died in 1991, and Menken was joined by lyricist Tim Rice and Linda Wolverton (who wrote both the screenplay and the book) for the two-and-a-half-hour stage extravaganza.

Some critics compared the bloated stage version unfavorably with the charming simplicity of the film, but I found that the Beck production mimics the cartoon rather closely; that proves both a plus and a minus. Cinematic scene changes, by virtue of the medium, are seamless; on stage, such changes can slow things down.

Sternfeld has cast his principals so well, with one exception, that some of the characters, notably Belle and Gaston, even resemble their animated counterparts.

Scenic designer Ben Needham bookends each side of the stage with medieval castle spires and towers, while, in the center, Cotswold cottages with flower boxes bring the town to vivid life.

Steven C. Mack’s eerie lighting, coupled with the baying of wolves by sound designer Richard Ingraham, set the stage for the forest scenes and the two wolf chases.

Highlight of the production is Menken’s lovely and unforgettable score, duly energized by music director Larry Goodpaster and orchestra.

Flashing lights and smoke-induced fog convert the comely prince to the ugly beast before our very eyes in the prologue. Terrific wig, makeup and costume are by special “Beast designer and creator” Scott Gamble.

Whether pacing on all fours, sitting on his haunches, unleashing a roaring temper, or slurping his soup, Dan Folino is a consummate Beast. Folino adds a bit of camp to his Beast, softening the scary edges with humorous, endearing touches. His later transformation from monster to gentleman oozes with charm. Folino struts his considerable singing skills in the beast’s rueful song, “If I Can’t Love Her.”

The petite, spunky Natalie Green makes a delightful Belle. Her sweet voice shows surprising timbre in her song, “A Change in Me.”

The relationship between Belle and Beast is well drawn by Green and Folino. Beast is not the only one who undergoes change. Belle also grows up as she learns that good can come from bad and lets go of her childhood dreams of faraway lands and exotic places.

Who says fairy tales are only for the young? When Beast faces imminent death, it brought a tear to my eye, too.

The one cast clunker is Bill Kelly as Belle’s inventor/father Maurice, who looks the part, but alas, cannot sing a lick and whose speaking voice was hoarse at the performance I attended. (Note from Fred: Bill had laryngitis the night Fran reviewed. He actually has a fine tenor)

The ensemble numbers are especially fine, beginning with the opening village scene, where we meet the bookish Belle; her vain, boorish suitor Gaston; his dimwitted sidekick Lefou; and the rest of the townspeople.

Choreographer Martin Céspedes continues to create miracles with non-professional dancers and actors. His inventive movements in the tavern song, where the ensemble does some neat stuff with beer mugs, is a masterpiece of creativity.

With his slick, black pompadour, preening gestures, and hulking strut (a droll imitation of Arnold Schwarzenegger), Josh R. Noble is a shoo-in for the rude and conceited Gaston. Noble is an equally fine vocalist, whose paean to himself, “Me,” is a humorous blend of swagger and pomp. A trio of silly girls (Jessica Sopko, Sarah Clare and Kelly Pekar) swoon and sigh in perfect comic sync.

Zac Hudak is the ideal foil as Gaston’s hapless sidekick Lefou, flopping all over the stage like a beanbag each time he suffers a blow from his cruel master. Even the music gets into the act, with a “thwonk,” “clang,” and “bop.”

The staff of the Beast’s castle have been transformed, too. As long as he remains a monster, they remain walking, talking household items.

Larry Nehring delights as the amorous Frenchman-turne- candelabra Lumiere, who yearns, with the rest of the castle staff, to be “Human Again.” He is joined by Douglas Collier as the suitably pompous Cogsworth and Amiee Collier as the maternal Mrs. Potts. Ms. Collier does ample justice to the show’s best song, “Beauty and the Beast.”

Ten-year-old Miles Sternfeld has tremendous stage presence as Mrs. Pott’s son Chip, who, like the others, wants to be a real person rather than a teacup.

Tracee Patterson is suitably theatrical as former actress Madame de la Grande Bouche, who has been turned into a chest of drawers. Kristin Netzband does an amazing nonstop wiggle as the sexy castlekeeper Babette.

Even the cameo role of Monsieur D’Arque, Gaston’s co-conspirator and greedy director of the lunatic asylum, is fleshed out in Adam Kapis’s malevolent portrayal.

“Be Our Guest,” the razzle-dazzle showstopper in which the dishes, cutlery and a cartwheeling carpet (Andrew Parmelee) come to anthropomorphic life, has all the earmarks of a Follies extravaganza.

Aimee Kluiber’s incredible costumes (with Theatrix Costume House, Toronto) provide an endless cavalcade of earthly delights, starting with the candlestick Lumiere’s flickering tongues of flames flashing from his wick-like hands, and Mrs. Potts’s dome-like teapot attire replete with handle and spout.

Audience reaction can be a good judge; and children, probably the most impartial. In a crowd in which half were school-age kids and the other half their parents, all were engaged, attentive and rose as one in a standing ovation following the production.

If you’re looking for a family show that is entertaining, and great fun, with a sound moral for young and old alike, Beauty and the Beast is just the ticket.

Free Times review
It Takes an Enchanted Village: Beck Center’s Beauty and the Beast is perfectly cast and choreographed
By James Damico

HOW BEST TO CONVEY just how enchanting is Beck Center’s Beauty and the Beast? Maybe by sharing a critic’s infallible indicator. From the first moment of this beauteous Beauty — which depicts witchy physical transformations seamlessly segueing into a vibrantly staged, choreographed, lit and costumed evocation of a fairytale village springing to life — right through its fadeout kiss, I was so cozily caught up in the storybook proceedings that I never once looked away to make one of my obligatory, if always illegible, notes.

As expected, a Disney Beauty is bound to be purposely slight, here programmed to maximize the profits of the smash 1991 animated film. But at least the Mouseketeers didn’t attempt to burden this feathery fare with anything like the lugubrious psychological dissection of fairy tales that so leadens Stephen Sondheim’s lumbering Into the Woods.

The musical simply colorizes the traditional fable of a prince turned into a wolfish beast because he failed to recognize the inner beauty of a gorgeous enchantress in old hag disguise. Along with his faithful servants — who are slowly transmogrifying into furniture, clocks and cooking utensils — the beast is under a deadline to find someone to love him for his true self before all the transformations become permanent. Which is, natch, where Belle the beauty chimes in. After suitable complications — involving the village egomaniac Gaston’s evil plotting to claim Belle; but, largely, Belle getting to know how unbeastly her beast is — the inevitable spell-breaking and lovers’ binding ensues.

Alan Menken’s score will never challenge Humperdinck’s Hansel and Gretel for fairytale musical elegance; yet his tunes are pleasantly tuneful. But it’s Beck’s superior production that makes the occasion truly special and an oughta-see holiday treat for kids and chaperoning adults alike. Director Fred Sternfeld has again massed dozens of performers, and again circulates them with his estimable trademark fluidity. This go-round, however, he’s also perfectly cast — not invariably his wont — all the principal performers. Larry Nehring as a lecherous candelabra, Amiee Collier a maternal teapot, Tracee Patterson a vain vanity, Douglas Collier a clucking clock, Kristin Netzband a featherbrained featherduster, and little Miles Sternfeld a kewpie of a cup, are all wonderfully animated inanimates, and as a group zestily deliver the show’s two best songs, “Be Our Guest” and “Human Again.”

Newcomers to town, Natalie Green (Belle) and Josh R. Noble (Gaston) should definitely be persuaded to stick around. Tiny but potently piped, Green is a Disney drawing personified; but acts, endears, and especially sings, with decidedly fleshly warmth. Stout-voiced, buff and handsome, Noble is also most amusingly insufferable, and makes a yuk-yielding comedy team with rubbery foil Zak Hudak. The greatly talented Dan Folino does a marvelous job of conveying the yearning humanity through all the beast’s gruff huffing and the swaddle of hirsute makeup. Moreover, when he gets his surprisingly few opportunities to sing, he forcefully exhibits his usual impressive vocal expressivity.

Ben Needham’s sets are exceptional, Steven Mack’s lighting aptly fairytale-ish, and Larry Goodpaster’s orchestra exemplary. But if musical comedy were considered as real estate, instead of the thrice-repeated “location,” what you’d hear local smart guys advising as essential is “Cespedes, Cespedes, Cespedes.” As he proved with Beck’s Urinetown earlier this year, and as he’s routinely demonstrated with nearly every production lucky enough to employ his burgeoning gifts, Martin Cespedes’ consistently integral contributions not only enliven, enrich and validate any show he choreographs, but, as here, they come damn close to being the crucial difference between resounding success and ordinary failure.

THE TIMES NEWSPAPERS: Lorain County Times--Westlaker Times--Lakewood News-- Times--Olmsted-Fairview Times review
‘Beauty And The Beast’ Is A Beaut At Beck!
by Roy Berko
(Member, American Theatre Critics Association)

‘DISNEY’S BEAUTY AND THE BEAST,’ which is now on stage at Beck Center, tells a "tale as old as time." It was originally conceived in 1740 as a dark and scary tale. In 1992 Disney released a lighter version of the story which became the first animated feature to be nominated for the Academy Award’s Best Picture. In 1994 Disney transformed the script into an award winning Broadway musical.

Beck is one of the first non-Broadway or touring companies to present the show. What is impressive about Beck’s getting the rights is that the show is still running on Broadway. This is yet another tribute to what’s been going on in Lakewood. The theatre, under the wise guidance of Scott Spence, has recently staged such winning productions as ‘URINETOWN,’ ‘MISS SAIGON,’ ‘AIDA’ and ‘THE FIX’ establishing itself as one of THE places to see musicals in the Cleveland area.

Their production of ‘BEAUTY AND THE BEAST’ under the able direction of Fred Sternfeld, and the marvelous choreography of Martin Cespedes, is yet another winner.

‘BEAUTY AND THE BEAST’ concerns a prince who, because he has no love in his heart, is transformed into a beast by an enchantress. To break the spell, the Beast must learn to love another and earn her love in return. If not, he will be doomed to remain a beast for all time.

Into the Beast’s life comes Belle, a beautiful young woman who lives with her eccentric father in a small town near the Beast’s castle. Belle longs for a life of adventure like those she reads of in books. Her father gets lost in the woods and wanders into the Beast’s castle, where he is imprisoned. Upon finding her father in the Beast's clutches, Belle offers herself as a captive in return for her father’s release. And...you can guess the rest. Yes, the Beast learns kindness and love, it is reciprocated by Belle, and we all go out of the theatre singing the likes of “If I Can’t Love Her,” “A Change in Me,” “Be Our Guest,” and the title song, “Beauty and the Beast.”

Beck’s production is enchanting. Everything from the sets, to the music, to the singing, to the dancing, to the cast, works well.

Natalie Green is glorious as Belle. She is beautiful, lights up the stage with her smile, sings like an angel and dances with ease. Her version of “A Change in Me” was enchanting. She is a star in every sense of the word.

Dan Folino, who has done some marvelous work in the area, has a full and powerful voice and gives a vulnerable texture to the role of the Beast that adds much to the characterization. His “If I Can’t Love her” was captivating. He and Green make the perfect fairy tale prince and princess. It is wonderful to see Folino, who has not been seen on the stage lately, appear where he should be--front and center! I can only hope that he will excite us with return performances.

Though he doesn’t have the physical presence or the natural swagger ideal for the role of the pompous Gaston, Josh Noble has a nice singing voice and a perfect set of pearly white teeth and creates an acceptable characterization.

Zac Hudak (Lefou) makes for the perfect straight man and punching bag for Gaston. If Hudak gets through the run of the show without a few broken bones it will be a marvel.

Doug Collier as Cogsworth (the clock), and Larry Nehring, who gives a Danny Kaye quality to Lumiere are both delightful, as is Tracee Patterson as Madame de la Grande Bouche (the dresser) and Kristin Netzband (Babette, the feather duster), and Miles Sternfeld (Chip, the tea cup). Aimee Collier has a fine voice. Her rendition of “Beauty and Beast” was charming. Unfortunately, she is missing the matronly touch needed for Mrs. Potts.

Martin Cespedes is a master of choreography. It is amazing what he can do with a group of performers who, in general, are not dancers. “Be Our Guest” and “Gaston” were absolute show stoppers!

Larry Goodpaster’s orchestra is excellent, remembering the rule that the orchestra in a musical plays backup to the singers, not giving a concert. Too bad other conductors at local theatres don’t follow Goodpaster’s lead.

Ben Needham’s scenic design is excellent. It is amazing how he used every inch of space on the small stage to allow for ease of movement.

Director Fred Sternfeld again proves that he is a master at placing large casts on stage and making them look good. He pays special attention to ensure that his chorus and townspeople are involved in the production and not just standing around as is often seen on local stages. His ability to invent “shtick” comes through loud and clear in this production.

CAPSULE JUDGEMENT: Beck’s “BEAUTY AND THE BEAST” is a delightful production. It is the best holiday present that the theatre could give its audience.

For tickets to ‘BEAUTY AND THE BEAST’ which runs through December 31 at the Beck Center for the Arts, call 216-521-2540.

CoolCleveland review (12/13/05)
By Thomas Mulready

Beauty & The Beast @ Beck Center 12/9 Featuring lavish costumes, stunning special effects, spot-on acting and a brilliant live orchestra, all brought together with tight-as-a-drum stage action and never-a-dull-moment pacing by crack director Fred Sternfeld, this classic tale competes directly and successfully with the popular animated version, then goes it one better. The 2.5 hour play is so good natured, so entertaining, so uplifting, it flies by, even for (especially for) kids, and actually leaves you wanting more. The fun continues through 12/31.
(This was the complete review)

West Life review
Beck's Beauty and the Beast, brings a faithful Disney classic to life
By Art Thomas

How great it is to praise a show such as the Beck Center production of Disney's Beauty and the Beast! This production is a Christmas treat to the greater Cleveland community.

When it opened on Broadway almost a decade ago, Beauty and the Beast brought the spirit of Disney to the Great White Way. Now that it has reached local theaters, the issue is to what extent will theaters honor or be able to honor the original.

Beck Center's production, under the direction of Fred Sternfeld, is faithful to the material in spirit and execution. Walt Disney is smiling on this show.
The first hint that audience members are in for a treat is the fairy tale scenic units that flank the stage. Suggestions of a castle are on both sides and a beautifully executed show logo in the middle reminds us of the title page of a book. This is before the show begins.

A reverb-enhanced bass voice gives us the back-story of the too-proud prince who was turned into an ugly beast until he learns the meaning of unselfish love. In the unnamed village we are treated to a kaleidoscope of color as villagers and merchants tell us about Belle, the book-loving daughter of eccentric inventor Maurice.

Stuck-up Gaston proclaims his love for Belle who spurns him and soon has bigger issues when her father disappears. Captured by the Beast, he is freed when Belle offers herself in exchange. Because of the spell, the Beast's servants are slowly becoming inanimate objects.

So, Natalie Green is charming as Belle in her blue jumper and has the Broadway voice that this show requires. Dan Folino, who never seems to make a misstep in choosing a role, or creating amazingly diverse characters, stretches himself in the tortured role of the Beast. Sometimes on all fours, sometimes walking upright, he has mastered the vocal qualities that give the Beast the necessary human quality.

Everyone is aided by Richard Ingraham's first-rate sound design that does not call attention to itself while balancing voices, instruments and special effects.

Larry Goodpaster's orchestra is more than up to the challenging score in which background music especially makes very difficult demands of the musicians.

We've come to expect nothing less than professional excellence from Martin Cespedes' choreography. In Beauty and the Beast it is augmented with creative fight choreography and every measure helps to reinforce or advance the story.

Everyone, even the least of the townspeople, make strong contributions to the magic of the story, and Lumiere, Mrs. Potts and Cogsworth--the candelabra, teapot and clock respectively--are still warmly human despite the inanimate costumes they must wear.

Competent magic special effects help to create fantasy mood here, but the biggest kudos should go to Beck Center management who must have spent a fortune on this production. Director Fred Sternfeld has a demonstrated success with mega-musicals and he was given the resources to bring this Beauty and the Beast to life.

A huge feather in the Beck Center's cap, Beauty and the Beast is in its first local production with a flair that will be difficult for any theater to top. I'm sure the run is nearly sold out by this time, but if any reader can get in to see it, it will be well worth the while.

Beauty and the Beast runs through Dec. 31.

Chagrin Valley Times review
Beauty and the Beast is a beauty of a show
By Herb Hammer

While heading out to Beck Center in Lakewood to see Beauty and the Beast, be sure to bring children with you. This extravagant production based on the Disney movie is Disney at its very best and that means for kids.

This doesn’t imply that adults can’t enjoy some of the adorable aspects of this delightful musical, but 8 or 9-year olds will surely like it a lot more.

Taken from the fairy tale the story goes like this: a prince says some nasty things to an old woman who turns into a young princess, who in turn casts a spell on the prince, turning him into an ugly beast. The spell can be only broken if the Beast finds true love before all the petals on a rose left behind by the princess fall off.

With this simple plot, a 2 ½ hour musical ensues. It takes a lot of ingenuity to keep any audience interested with this wisp of a story to deal with.

Under the direction of the remarkable Fred Sternfeld, Beauty and the Beast has enough going for it to charm you right out of your seat.

He has assembled a wonderful cast headed by Natalie Green as Belle, or Beauty if you prefer. Miss Green appears to have stepped right out of a Disney movie, a fragile young ingénue with an angelic voice. Miss Green embraces the role and sings with a show biz sound that has Broadway written all over it.

But Miss Green doesn’t carry the show. This is truly a total ensemble effort led by Mr. Sternfeld who has his cast and chorus, there are at least 50 of them, giving their all.

Most notable is Josh Noble as the egocentric villain Gaston whose every self absorbed moment brings laughs. Gaston can’t imagine why Belle won’t marry him for he is so handsome and dashing after all.

Dan Folino is outstanding as the Beast though you wish makeup artist Scott Gamble would have made him more beastly looking.

Also quite good is Larry Nehring as the transformed candelabra, and Amiee Collier as Mrs. Potts. Her teapot costume is a gleeful work of art, especially when she wheels her son around whose head pokes out of the side of a teacup. Miles Sternfeld is nothing short of cuteness in this part.

Others worth note in this exceptional cast are Bill Kelly as Belle’s eccentric father who loses his way in the woods and is captured by the Beast and Douglas Collier who does an amusing turn as a flighty clock.

Much of the credit for making this children’s show entertaining for adults is Martin Cespedes whose musical staging and choreography is astonishing. He has dancers everywhere dressed as forks and knives and plates and more. The polished dance ensemble ignites the show’s big number Be Our Guest.

Another great scene is in the tavern where dancing and tin beer mug toasting is a real treat.

But the charming love story takes center stage when the Beast becomes romantic and Belle sees all the good in him. Some great stage trickery finally turns the Beast back into the handsome prince.

The production follows the Broadway version with music by Alan Menken and lyrics by Howard Ashman and Tim Rice. The book is by Linda Wolverton. All do wonderful work. They’ve even thrown in a couple of new songs that were not in the movie.

Beauty and the Beast plays through December 31.

Another CoolCleveland review (12/20/05)
By Kelly Ferjutz

Beauty and the Beast @ the Beck Center 12/18 You’ll have to go some distance to find a higher-energy production of Beauty and the Beast than the one currently at Lakewood’s Beck Center for the Arts through December 31.

The costumes and the dancing are terrific. But then, so are the acting and the singing. It’s a tad long (2½ hours) but that’s certainly not the fault of director Fred Sternfeld, who keeps things moving briskly throughout. It’s a bit difficult for some young children to maintain their attention for such a long time, and especially during the fight scene between Gaston and Beast. (“Mama, I want to leave now.”)

The production overall is entirely believable, and everyone seems to sing and dance like old pros, the latter thanks to the wonderful choreography of Martin Cespedes. I’m sure he could make a person with two left feet cavort around the stage in the manner of Gene Kelly! Musical director Larry Goodpaster has an excellent pit orchestra, and leads them well. Even though all the singers are miked (as well as the orchestra) it is not a loud production

The music of Howard Menken with lyrics by Howard Ashman turns an ancient romantic tale into a spectacular love story with a nice mix of pleasant ballads and exuberant show-stoppers. This is most notable in ‘Be Our Guest’ in which all the kitchen utensils welcome Belle to dinner at the Beast’s Castle.

The unlikely young lovers are Natalie Green as Belle and Dan Folino as the Beast. They not only look as you want them to look, but they sing beautifully, while giving life to the parts. Josh Noble as the handsome, but empty-headed swash-buckler Gaston, is perfect—all teeth and shoulders! His confusion when Belle turns him down is wonderful. His foil, Zac Hudak as Lefou will surely be black-and-blue before the run is over, even if all his bones are still intact. The young man must be made of rubber to fall as he does and get up so cheerfully only to be knocked down again!

Larry Nehring as Lumiere and Kristin Netzband as Babette, the feather duster, were especially adept in their roles, which is not to slight the others: Bill Kelly as Maurice, Douglas Collier as Cogsworth, Amiee Collier as Mrs. Potts, and Tracee Patterson as the opera singer/Wardrobe. Maurice’s riding log-splitter invention is marvelously picturesque. Shades of Rube Goldberg!

Scenic designer Ben Needham created a handsome, multi-faceted set design with all sorts of moveable parts, that quickly morph from the village to the castle to the forest to Belle’s cottage and back again, in not much more time than it takes to blink. Lighting designer Steven Mack added many wonderful sparkly things to complement the versatile lighting effects. Costume designers Aimee Kluiber and Theatrix Costume House of Toronto deserve extra kudos for the marvelous depictions of the castle’s humans who are bewitched into becoming things: the clock, the teapot, the wardrobe, etc., not to mention the kitchen utensils! Not only are they wonderful to look at, but they didn’t seem to bother the very athletic dancers at all! Imagine trying to dance while garbed as a recognizable plate or corkscrew or measuring spoons!

Beauty and the Beast continues through December 31. For tickets or information, call (216) 521-2540 or log onto http://www.beckcenter.org.

Backstage (New York City) review
Review: 'Beauty and the Beast'
By Fran Heller

Local director Fred Sternfeld, Cleveland's maestro of the megamusical, has done it again. Beauty and the Beast is a high-octane production for a semi-professional regional theatre that has enough special effects to keep the child within us duly enchanted. Even with a 40-actor cast in which two principals are Actors' Equity and one is an Equity candidate, performances by both professional and nonprofessional actors remain consistently high.

The 1994 musical, the first Disney brought to Broadway, was created by Alan Menken (music), Howard Ashman and Tim Rice (lyrics), and Linda Wolverton (book). The lovely and unforgettable score is duly energized by veteran music director Larry Goodpaster and the orchestra.

Scenic designer Ben Needham bookends each side of the proscenium stage with medieval castle spires and towers, drawing the viewer into the fairytale setting. Steven C. Mack's eerie lighting and sound designer Richard Ingraham's wolf calls set the stage just right for the murky forest scenes. And Sternfeld has cast his principals so well that some of the characters, notably Belle and Gaston, even resemble their animated counterparts in the film version.

Coupling camp with ferocity, the versatile Dan Folino, who can sing as well as gambol about on all fours, is a consummate Beast. The evolving relationship between petite, spunky Natalie Green as Belle and the Beast is well-drawn by the pair. With his slick, black pompadour, preening gestures, and hulking swagger (a droll imitation of Arnold Schwarzenegger), Josh R. Noble is a shoo-in for the rude and conceited Gaston, while Zac Hudak is the ideal foil as Gaston's hapless punching bag, Lefou.

Larry Nehring charms as the amorous Frenchman, Lumiere, who yearns, along with Douglas Collier's suitably pompous Cogsworth and Tracee Patterson's comical Madame de la Grand Bouche, to be "Human Again." And as Mrs. Potts, Aimee Collier does ample justice to the show's Academy Award-winning title song.

The much-credentialed choreographer, Martin Cespedes, continues to create miracles with nonprofessional dancers and actors who move in sync as one. The tavern song, whereby the ensemble does some neat stuff with beer mugs, is a masterpiece of ingenuity.

"Be Our Guest," the razzle-dazzle showstopper in which the dishes, cutlery, and a cartwheeling carpet (the nimble Andrew Parmalee) come to anthropomorphic life, has all the earmarks of a Follies extravaganza.

Aimee Kluiber's incredible costumes (courtesy of Toronto's Theatrix Costume House) provide an endless cavalcade of earthly delights, starting with the candlestick, Lumiere's flickering tongues of flames flashing from his wick-like hands, and Mrs. Potts' domelike teapot attire, replete with handle and spout.

Lakewood Observer review
Beauty and the Beast Live at the Beck Center
By Mary Bodnar

The Beck Center of the Arts took on a huge endeavor with the production of the well-known and much loved Disney version of Beauty and the Beast. Director Fred Sternfeld, choreographer Martin Cespedes and musical Director Larry Goodpastor masterfully brought this epic love story to life in an amazing way. It certainly conformed to the highest theatrical standards. Disney lovers and Beauty and the Beast enthusiasts will not be disappointed. On Opening night, Friday, December 2, an excited audience was rewarded with curtains opening to reveal a lavish stage design complete with castle walls and climbing vines. Costume designs were simply exquisite, and costume designer Aimee Kluiber paid attention to the finest detail.

The music of Howard Menkin and lyrics by Howard Ashman and Tim Rice were orchestrated beautifully by Belle, played by talented and beautiful Natalie Green, the Beast, powerfully impersonated by Dan Folino, and the show-stealer, the heart-stopping Gaston, played by Josh R. Noble. The orchestral numbers, which were enchanting, seemed to be slightly muffled at some points. (I don’t remember this being the case for Aida or Urine-town—Urinetown’s orchestra, however, was right up on stage, as opposed to being behind the stage).

Natalie Green (Belle) was as charming in person as she was to watch on stage. She graciously spent 20 minutes on her knees to be at eye level with the long line of eager children (including my three who were utterly speechless in her presence) who awaited her autograph. She patiently addressed each child by name and enthusiastically answered all their questions. (Wow! Are there really still people like that in the world?)

Josh R. Noble (Gaston) currently residing in New York City, was phenomenal as the dorky, self-centered, egomaniac, womanizing, town evil villain. Talk about another truly likable down to earth guy—about as far from his character in the story. His hilarious acting and comical facial expressions were as close to actually being a cartoon character as you could get.

Zak Hudak, who was great as Gaston’s pathetic sidekick Lefou, was dropped, thrown and generally assaulted so many times that my compassionate eight-year-old daughter was truly worried about him. She asked him after the performance if it hurt. He said yes. This guy was equally amazing in Urinetown. He can really move his body. Nehring was enchanting as Lumiere, the French maitre d’ turned candlestick.

My six-year-old son was just smitten with Kristen Netzband, who played Babette, the enchanted Feather Duster. To keep her feathers moving, her derriere was in constant motion.

Andrew Parmalee, who played the Doormat, whizzing across the stage performing backflips, was a foreign exchange student in China where he studied a plethora of gymnastic styles and techniques. When asked when he started taking gymnastics, he answered “My Mom put me in gymnastics when she noticed me flipping all over the house.”

Our favorite musical number is when Lumiere goes into the kitchen to get something to eat for Belle and all the dinnerware is so excited that they finally get to serve someone. They all respond in “Be Our Guest” and the corresponding dance routine is fantastic. Napkins, Mrs. Potts, Spoons, Knives, Pepper, Measuring Spoons, Cake Server, Wooden Spoon, Corkscrew, etc., whirl about the stage in an eye full of splendor.

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