Although it’s been nearly two years since most Chicago theaters began to reopen for indoor audiences, there are still welcome firsts that come along now and then. One example is the return of Chicago Shakespeare Theater’s family musicals — a staple of Navy Pier’s summer programming — with a 75-minute version of “Beauty and the Beast,” directed and choreographed by Amber Mak.
As I wove through the crowds of tourists on a sunny Friday afternoon, the pier was as busy as I’ve seen it since before the pandemic — a positive sign for the city’s economic recovery. When I reached the theater lobby, I was greeted by the sight of cute young fans dressed in Belle costumes, eager to see the beloved princess onstage.
This straightforward production of the Disney musical has some lovely flourishes, especially in the ways it leans into its French fairy tale source material and the bookish nature of its protagonist. The solid cast features several Chicago regulars — including James Earl Jones II as Cogsworth — and newer faces such as Audrey Hare (Belle), an early-career actress from Aurora, and Jason Michael Evans (Beast). However, the show suffers from the truncated length and small ensemble and orchestra.
Jeffrey D. Kmiec’s set is framed by giant books, with one titled “La Belle et la Bête” prominently displayed at the top of the proscenium, and when Belle appears in her signature yellow dress, she descends a staircase of books. Mike Tutaj’s projections continue the storybook visuals by flipping through pages of French text during scene changes and alternating backgrounds of soft, warmly colored village landscapes with black-and-white sketches that look hand drawn. These touches are not only a service to the bookworms in the audience but also reinforce the idea that stories have the power to lift readers beyond the troubles of their own lives — as Belle well knows and the Beast comes to learn through reading with her.
When “Beauty and Beast” was adapted from the 1991 animated film into a stage musical in 1993, composer Alan Menken greatly expanded on the score. Collaborating with lyricist Tim Rice after the death of original lyricist Howard Ashman, Menken added new songs for Belle, the Beast, Gaston, Maurice and more — lending new depth to these characters (or, in Gaston’s case, new shallowness) and creating some of the score’s most beautiful melodies.
Having never seen the shorter family version, I steeled myself for significant cuts, and most of the choices were understandable. But in my view, the biggest loss is “If I Can’t Love Her,” the Beast’s only full-length solo number. It’s a personal favorite, but beyond that, the song provides crucial character development for the Beast. If we don’t feel his despair, there’s less payoff when he finally finds love and breaks the curse.
Thankfully, Chicago Shakespeare continues to employ live musicians as it did pre-pandemic, but with only four orchestra members (along with electronic music by Ethan Deppe), the score sounds quite sparse. It’s no fault of the performers, and orchestrator Heidi Joosten makes the best of the circumstances, but you really miss the orchestral swell when Belle sings, “I want adventure in the great wide somewhere,” to name one example.
Similarly, due to the small ensemble size, no more than a dozen cast members are onstage during the largest numbers, so the choreography looks thin at times. Scaled-back casts haven’t mattered as much in previous family shows I’ve seen at Chicago Shakespeare, such as “Peter Pan — A Musical Adventure” (also directed by Mak), with its small bands of Lost Boys and pirates, or “The Wizard of Oz,” which mainly focuses on Dorothy and her trio of friends. But here, it’s more noticeable in flashy numbers like “Be Our Guest,” with its chorus line of cutlery.
That being said, Mak makes innovative choices with the forces on hand, including a fun bit in the song “Gaston” when Le Fou (Sam Linda) conducts his fellow villagers like a choir as they sing the praises of their favorite egomaniac (David Sajewich). I also admired her graceful choreography for the Enchantress (Emily Ann Brooks), who places the spell on the Beast and his castle. Theresa Ham’s costume designs add to the charming visuals, especially that of Mrs. Potts (Rebecca Prescott), whose teakettle silhouette actually spouts steam. I’m not sure who was more delighted by that detail — me or my 11-year-old guest.
Despite my quibbles with the production, it’s always encouraging to see an audience full of children and their caregivers, and this bite-sized “Beauty and the Beast” is a good candidate to help youngsters catch the theater bug. As a bonus, if you stick around after the show, a few cast members will come out to the lobby in costume. For kids who are anything like I was at their age, meeting the actors and taking a photo together will leave them completely starry-eyed.
Emily McClanathan is a freelance critic.
Review: Disney’s “Beauty and the Beast” (2.5 stars)
When: Through Aug. 20
Where: Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.
Running time: 1 hour, 15 minutes
Tickets: $26-$42 at 312-595-5600 or chicagoshakes.com
