The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Beauty and the Beast
By Laurence Boswell
A Stables Theatre production
Directed by Maureen Nelson with Jackie Eichler
14–23 December 2007
Reviewed by Margaret and Philip Blurton
By Laurence Boswell
A Stables Theatre production
Directed by Maureen Nelson with Jackie Eichler
14–23 December 2007
Reviewed by Margaret and Philip Blurton
In the first half of this mythic fairy tale by Laurence Boswell, we were treated to the whirlwind rise and fall of Beauty’s dysfunctional family. To achieve this the cast, drawn from both senior and youth theatre members, performed with a dynamism of movement that we have come to expect from the guidance of director Maureen Nelson. Whether portraying a household of servants, menacing trees or the Beast’s garden, the twirling choreography of the company maintained the pace as the background to Beauty’s fate unfolded.
Her two sisters, the unlovely Marie Claire (Claire Bibby) and Veronique (Sarah Evans) were suitably spiteful and brought some lovely comedic moments, as did their father (Ian Fairbrass), shown in particular during a bout of near hysteria when first believing that the Beast’s riches were his own. Beauty’s brothers, Andre (Jason Quinnell), Phillipe (Alex Richardson-Price) and Emile (Tom Roche), supported the comic action and came into their own as protectors against her sisters.
But what of the story of the Beast, played by Ian Cowpland, which dominated the second half of the show. Applause to whoever made the Beast’s mask. This was a huge writhing, twisted metallic affair, behind which the Beast’s true self was trapped until release by Beauty’s love. It generated a great sound too, with very effective echoey amplification. As the story progressed we were introduced to the comedy of the Beast’s robotic servants (Tom Roche and Claire Bibby again). And then true love, as the Beast learnt to control his aggression, and Beauty, under the guidance of the Witch (Jackie Eichler), learnt to look beyond the surface to fully understand her heart’s desires.
This was a show for adults and children, with at times complex philosophical language, some of it in French, but enough slapstick, movement and simple story to appeal to a younger audience as well. Perhaps this was the challenge of the piece, to successfully balance the show’s complexity and simplicity all at once. And somewhere in the second half it did seem to waver on this tightrope.
That said, with original music composed by Robert Connelly to enhance the staging, and strong creative physical theatre, we were soon brought back to the joy of the Beast’s freedom and romantic love. Favourite for our six-year-old daughter and her friends was, of course, Beauty (Zoe Morgan), who was mobbed afterwards. Of greatest concern to these young theatre-goers was where had all Beauty’s flowing locks gone? A wonderful wig no doubt, but confusing for a six-year-old mesmerized by live theatre and the magic of the Christmas season.
Her two sisters, the unlovely Marie Claire (Claire Bibby) and Veronique (Sarah Evans) were suitably spiteful and brought some lovely comedic moments, as did their father (Ian Fairbrass), shown in particular during a bout of near hysteria when first believing that the Beast’s riches were his own. Beauty’s brothers, Andre (Jason Quinnell), Phillipe (Alex Richardson-Price) and Emile (Tom Roche), supported the comic action and came into their own as protectors against her sisters.
But what of the story of the Beast, played by Ian Cowpland, which dominated the second half of the show. Applause to whoever made the Beast’s mask. This was a huge writhing, twisted metallic affair, behind which the Beast’s true self was trapped until release by Beauty’s love. It generated a great sound too, with very effective echoey amplification. As the story progressed we were introduced to the comedy of the Beast’s robotic servants (Tom Roche and Claire Bibby again). And then true love, as the Beast learnt to control his aggression, and Beauty, under the guidance of the Witch (Jackie Eichler), learnt to look beyond the surface to fully understand her heart’s desires.
This was a show for adults and children, with at times complex philosophical language, some of it in French, but enough slapstick, movement and simple story to appeal to a younger audience as well. Perhaps this was the challenge of the piece, to successfully balance the show’s complexity and simplicity all at once. And somewhere in the second half it did seem to waver on this tightrope.
That said, with original music composed by Robert Connelly to enhance the staging, and strong creative physical theatre, we were soon brought back to the joy of the Beast’s freedom and romantic love. Favourite for our six-year-old daughter and her friends was, of course, Beauty (Zoe Morgan), who was mobbed afterwards. Of greatest concern to these young theatre-goers was where had all Beauty’s flowing locks gone? A wonderful wig no doubt, but confusing for a six-year-old mesmerized by live theatre and the magic of the Christmas season.
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Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
