A&E
Beauty and the Beast mixes Shakespeare with technology
By Sarah Zeiberg ’18
November 13, 2015
The tale as old as time has been expertly restored by the Theatre Department in their production of “Beauty and the Beast.” By no means a commercial retelling of the French fairy tale, this rendition hinges on an eloquent original script that folds Shakespearean sonnets and original characters into the familiar framework. Lyrically complex lines are delivered with seamless clarity by the cast of eleven, creating a fantastical world conducive for fleshing out darker themes that center around love and virtue.
As the title suggests, the cast of characters is headed by the Beast and Beauty. Collin Purcell ’17 excellently plays the tortured yet gentle Beast. Purcell’s understanding of the beast’s internalized conflict and of the world in which he is trapped is simply captivating to watch. Catherine Macleod Daigle ’17 expertly portrays his counterpart Beauty, a young woman torn between familial duty and a developing sense of self. Purcell and Daigle’s on-stage chemistry is so strong that the structure of their relationship feels fresh.
Andrew Gibeley ’16, who plays Beauty’s father, provides paternal stability to this sizeable cast of characters and to the necessary impetus for the plot. His tired energy following a trying journey is truthful to the character’s background and gives a realistic feeling to Beauty’s struggle.
In an interesting departure from Disney, but in keeping with the 1946 film La Belle et la Bete by Jean Cocteau (scenes from which are projected behind the set’s mirror), the production adds a considerable number of characters. The addition of Beauty’s five siblings provides a sense of levity to the production. The two sisters, played by Kelsey Crane ’17 and Meghan Gehan ’18, are so entertaining in their shrillness that their entrances frequently initiated audience laughter. The three brothers played distinctively by Ryan Cassidy ’17, Timothy Hartel ’18 and Michael Gagnon ’16, meanwhile, are pictures of comically confused mascunlinity.
Of these cast additions, those that had the greatest impact on the flow of the story were the three narrators, or ‘witches.’ Channeling the Three Graces of Greek mythology, Mackenzie Bettmann ’18, Maria Lazgin Ciercielli ’18 and Olivia Melodia ’18, give haunting performances in their gauzy dresses and exaggerated makeup. Providing necessary structure to this episodic show, there is a musicality to each of their performances that adds to the otherworldliness the production establishes.
The explorative nature of this production does not end with the actors. The set is simple yet impactful, relying upon symmetry and repetition. A testament to the deep themes of the show, center stage is given to an oval pool of water and a simple swing placed tactfully downstage. Both of these pieces are used in countless inventive ways throughout the performance, keeping audience members waiting for the next sleek scene change.
What makes these simple elements so phenomenal is the layering of projected images and patterns to underscore the content of the action. Again this reliance on patterns makes for an aesthetically appealing picture throughout. This is not to say that this aggressively modern technical element is used in lieu of a paint job. Instead, the production as a whole presents a commentary on itself to again emphasize the thematic scope of the piece. Never before have I seen a production that utilizes Kim Kardashian’s wedding footage as tastefully as this one amidst Shakespeare and an Appalachian folk soundtrack to boot.
At the helm of the show is director and theatre professor, Carole Bellini-Sharp. Her clear vision and trust in the creative process, with the help of Matthew Woods ’88, make this production feel fresh and invigorating. Her expertise in avant-garde and Shakespearean acting is on full display in this show. This, coupled with dynamically contrasting technical elements, provides a richness to her final mainstage production after 43 years at Hamilton and Kirkland.
The shows continue Nov. 12-14 at 7:30 pm in the Romano Theatre. Tickets are $3 for students and $5 for general admission. For reservations, call 315-859-4969.