Category: reviews

There are some shows you instantly love; the recent Water for Elephants is a great example of that. There are others that just never hit right, and you think about leaving; Girl From the North Country was one of those for us. The Outsiders, which we saw last night at Broadway in Hollywood/Hollywood Pantages, was—for us—a big “meh”.

I’m not saying that the show was bad, for it wasn’t. It won Best Musical, although I do think there were other shows in the season that were better. It drew an active and interested younger audience, which is great for the theatre. One could follow the story, which was dark and dramatic. It had loads and loads and loads of teen angst. The performances were very strong. There were a few catchy songs.

But it just wasn’t our thing. My wife left and sat in the lobby before intermission: the story was way to dark for her. I sat through the whole thing, but the story never drew me in. It’s not a musical I would care to see again: there are only a few catchy songs, and really one one (“Stay Gold”) that I think was a very strong song. This wasn’t a song and dance show. It was dark, with violence, death, sexual violence, domestic violence, gang violence, and borderline racism. There are ways to handle that: just look at Carousel. But this just didn’t grab me. Perhaps it would be different if I had seen the movie.

There’s a long detailed synopsis of the story on Wikipedia. I asked Gemini to summarize it. [Note that there are SPOILERS for Act II. I’ve tried to make Act II harder to read; highlight it if you want the spoilers]:

Act I introduces Ponyboy Curtis, a 14-year-old growing up in Tulsa, Oklahoma, in 1967. He navigates a fractured world divided by socioeconomic status, where his working-class gang, the Greasers, faces a violent rivalry with the wealthy Socs. After Ponyboy is attacked by the Socs, tensions steadily escalate. He and his best friend, Johnny Cade, meet a Soc girl named Cherry Valance at a drive-in, sparking mutual understanding but provoking a fierce confrontation with her drunk boyfriend, Bob. Later that evening, after a heated argument with his oldest brother and guardian, Darrel, Ponyboy runs away with Johnny. The two are cornered in a park by Bob and his gang, who attempt to drown Ponyboy in a fountain. To save his friend, Johnny stabs and kills Bob, forcing both boys to flee the city and hide in an abandoned church with the help of their hardened friend, Dally.

Act II follows the fallout of Bob’s death as the Socs declare an all-out war on the Greasers. While hiding out, Johnny decides he wants to return home and turn himself in, but tragedy strikes when the church catches fire. Johnny and Ponyboy bravely rush inside to save a group of children trapped inside, cementing themselves as local heroes. However, Johnny is severely injured by a falling beam, leaving him paralyzed in the hospital. Seeking retribution, the Greasers engage the Socs in a brutal rumble in the pouring rain and emerge victorious, but the triumph is short-lived as Johnny dies from his injuries shortly after. Driven mad by grief, Dally intentionally gets hit by a train and dies, leaving Ponyboy utterly distraught. Ultimately, Ponyboy finds a path forward after reading a heartfelt letter Johnny left behind. He reconciles with his brothers and begins writing down their collective story, which is revealed to be the opening lines of The Outsiders novel.

As you can see, a very dark story. Not your typical musical. Not our cup of tea. But I’m not saying it was bad; it just wasn’t something we would choose to see, or that we would particularly want to see again.

Before I go into the strengths of the show, I want to highlight one other problem—and this one isn’t show related, it is theatre related. For the first time that I can recall at the Pantages, there was tremendous bass music bleedthrough from the venue next to the Pantages (Audience Left, Stage Right). This bass—especially strong during the second, most dramatic act—was distracting and annoying. I’ve never had that happen before, and the Pantages staff needs to talk to the Frolic Room about the noise. Hopefully, it was a one-time thing.

That said, the staging was very strong. There were a number of things that struck me. First, the lighting design by Brian MacDevitt was very strong. It created the right mood, especially in the second act. I particularly noted the lighting during the fighting in the rain in the second act. Second, and again this relates to the fighting scene: The rain was very effective, and it is a difficulty and messy effect to have on the stage. Most shows avoid the problem by using projected rain. This was using real water, and when you combine that with the strange sand-like substance on the stage, it was really effective. Overall, the scenic design was interesting, with a dark junkyard feel and abandoned cars and tires. Very effective.

Performances were strong. At our performance, we had a swing understudy on for Ponyboy (Jordan Deandre Williams), and he was spectacular. Tyler Jordan Wesley was also very strong as Dallas, and Emma Hearn was great as Cherry Valance. A few other notables: Gabriel White Marín was strong as Bob, and Delaney Dias was a very strong dancer as Ace.

I’ve talked about the story and the performances. Turning to the music. Most of it was equally dark and, truthfully, didn’t catch my eye. I liked the opening and closing numbers, “Tulsa 1967”, as well as the gentle number “Stay Gold”. The rest, although they served the show, weren’t particularly memorable.

As you’ve probably figured out by now, this wasn’t the show for me. It wasn’t a bad show—it just wasn’t a show I liked. Our show today should be much better, as it is one of our favorites (Come From Away). But the real question is not us, but you. Should YOU see The Outsiders?

I think the answer is a definite maybe. If you are triggered by the subject matter of the show: domestic violence, suicide, sexual violence, racism—I’d avoid the show. If you don’t like really dark themes—avoid the show. Do not go in expecting a song and dance spectacular like Boop. This is much darker than the violence in Water for Elephants. It doesn’t have light numbers. It is definitely a PG-13 or R rated audience show for the themes.

If given all that doesn’t bother you, then go see the show. The performances are spectacular, and the staging is wonderful. Tickets are available through the Pantages website.

A last note for those reading this on my blog: I’m still working on the election analysis posts. Some of the work is easy for those offices still on the ballot from the Primary. But there are lots of Propositions at the state, city, and county level; there’s a whole new set of state-level judges, and there are LACCD trustees. Combine that with the upcoming show schedule, and I’d look for the ballot deep dive in 7-10 days, perhaps sooner. You can look for the Come From Away writeup sometime tomorrow, and perhaps a new podcast episode near the end of the week (if I get the editing done).

Credits

The Outsiders. Book by Adam Rapp and Justin Levine. Music and Lyrics by Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine. Based on the novel by S. E. Hudson and the movie directed by Francis Ford Coppola. Directed by Danya Taylor. Choreography by Rick Kuperman & Jeff Kuperman.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]:  Nolan White Jordan Deandre Williams Ponyboy Curtis; Bonale Fambrini Johnny Cade; Tyler Jordan Wesley Dallas Winston; Travis Roy Rogers Darrel Curtis; Corbin Drew Ross Jackson Reagin Sodapop Curtis; Emma Hearn Cherry Valance; Jaydon Nget Two-Bit; Gabriel White Marín Bob / Cop; Dante D’antonio Paul; Seth Ajani Guiseppe Little Ensemble; Christian Arredondo Tommy Kaiser Ensemble; Kevin Avila Brill, Ensemble; Delaney Diaz Ace; Gina Gagiano Ensemble; Will Hastreiter Brian Ho Pui Cheung Ensemble; Katie Riedel Marcia; Luke Sabracos Hayden Rivas Trip; Eli Talley Ensemble; Johnathan Tanner Tyson Hill Chet; Rodney Thompson Jr Steve; Alyssa Villareal Beverly; Swings: ↑ Brian Ho Pui Cheung, ↑ Tyson Hill, Hannah Jennens, ↑ Tommy Kaiser, ↑ Hayden Rivas Dance Captain; ↑ Jordan Deandre Williams, ↑ Guiseppe Little.

Music Department (🌴 indicates local): Justin Levine Music & Lyrics, Music Supervision, Arrangements, Orchestrations; Jamestown Revival Music & Lyrics; Matt Hinkley Music Supervision; Remy Kurs Music Director, Conductor; Adam Dorfman Assoc Conductor, Keyboard; Jackson Dunkin, Andrew Shield Guitars; Anthony Scandora Drums; Bella Amada Bass; Justin Brown Reeds; Anna Nordmoe Violin; E. Renée Gamez Asst Conductor, Keyboard Cover; 🌴 Ira Glansbeek Cello; 🌴 Jeff Driskill Tenor Sax, Bari Sax, Clarinet; 🌴 Michael Abraham Guitar 2 (Electric/Steel-String Acoustic); 🌴 Dan Lutz Bass (Acoustic/5-String Electric/Fretless); 🌴 Eric Heinly Orchestra Contractor; Kristy Norter Music Coordinator; Emily Grishman Music Copying; Alden Terry Music Preparation; Randy Cohen Keyboards Keyboard Programmer; Enrico de Trizio Ableton Programmer; Andrea Yohe Assoc Music Supervisor; Ed Benrock, Jamie Eblen, Mark G. Meadows, and Justin Smith Additional Arrangements.

Production and Creative: S. E. (Susie) Hinton Author; Adam Rapp Book; Justin Levine Book; Danya Taymor Director; Rick Kuperman & Jeff Kuperman Choreography; AMP featuring Tatiana Kahvegian Scenography; Sarafina Bush Costume Design; Brian Macdevitt Lighting Design; Cody Spencer Sound Design; Hana S. Kim Projection Design; Jeremy Chernick & Lillis Meeh Special Effects Design; Alberto “Albee” Alvarado Hair & Wig Design; Tishonna Ferguson Makeup Design; Taylor Bense Sound Effects Specialist; Jack Viertel Creative Consultant; Miranda Cornell Assoc & Resident Director; Autumn Angelettie Assoc Director; Kristen Carcone Assoc Choreographer; Nancy Renee Braun Choreography Supervisor; Gigi Buffington Speech Text & Dialect Coach; Beverly Jenkins Production Supervisor; Edmond O’Neal Production Stage Manager; Travis Blackwell Stage Manager; Julia Formanek Asst Stage Manager; The TRC Company Casting; Allied Global Marketing Tour Marketing & Press; The Road Company Tour Booking; Juniper Street Productions Production Management; 321 Theatrical Management General Manager.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania. If you are looking for discount tickets, TodayTix (unlike their predecessor Goldstar Events) doesn’t handle the small theatres in LA. Luckily, Theatre Source LA has a new initiative: StageRushLA for discount tickets.

Sadly, we recently lost one of my favorite theatrical venues due to fire: the historical building housing Newhall Refinery, Care/Tucker Design, The Main, and El Troc was destroyed by a 3-alarm fire. Luckily, Canyon Theatre Guild next door was spared. I’ve been attending “The Main”, and it’s previous incarnation, Rep East Playhouse, since all the way back in 2006. Twenty years. Let’s pour a glass for the art and artists of Rep East/The Main, and hope that small and vital venues like The Main return to Santa Clarita soon. While you’re at it, contribute to support the artists of The Main who lost all their gear (they were in the middle of a show run). Do what you can to support theatre in Santa Clarita. I am: Our outing today for Come From Away is to the Olive Branch Theatricals production, in the Valencia Town Center. The leaders there got their start through REP and CTG.

Upcoming

Key: 🎭 Theatre / 🎼 Music /  Other Live Performance – Next 90ish Days (🎫 indicates ticketing is pending).

• October: 🎭 Come From Away at Olive Branch Theatricals;  🎼 Branford Marsalis & Dianne Reeves Celebrate John Coltrane at The Soraya; 📚 LA as Subject Archives Bazaar at Cal State LA; 🎭 Les Miserables at 5-Star Theatricals; 🎼 Gershwin and the Golden Age (feat. Michael Feinstein) at The Soraya; 🎭 The Who’s Tommy at BIH/Pantages.
• November: 🎭 Things are Looking Up at the Binge Festival of Free Theatre/Santa Monica Playhouse (Livestream); 🎭 Passing Strange at Pasadena Playhouse; 🎭 Oh Mary at CTG/Ahmanson;  Dance Theatre of Harlem at The Soraya; 🎭 Road Show at Chromolume Theatre; 🎭 Destiny of Desire at CTG/Taper.
• December: 🎭 Candide at LA Opera; 🎭🎫 Big Fish at Conundrum; 🎼 Spanish Harlem Orchestra at The Soraya; 🎭 Christmas Carol Goes Wrong at CTG/Ahmanson.

Think about it. How many musicals about circuses (circii?) do you know? Of course, there’s Barnum. There’s the upcoming stage adaptation of The Greatest Showman in 2027. And there’s … there’s … Bronco Billy The Musical? No, that’s about a Wild West Show. There’s the song “Where Does An Elephant Go?“, but that’s not about a circus.

The point is: That for as entertaining and theatrical the spectacle of a big top is, it hasn’t led to all that many stage adaptions of the form. The latest one of grace the stage is Water for Elephants, an adaptation of 2011 film of the same name., which we saw last night at the Hollywood Pantages.

Reading through the movie’s synopsis, there are some slight changes from that story, but the essential beats are there.  The essence is that the story is being told by an older Jacob Jankowski when he is visiting a local circus. It seems that, as a young man, after losing his parents to a car accident and his home to the depression, he jumps a circus train. He jumps the train of a down and out circus, and joins as their vet. They acquire an elephant, and he starts to fall in love with her trainer/performer. The problem is: She’s the wife of the ringmaster, and he has a cruel streak. I think you can take it from there, but suffice it to say that elephants never forget how they are treated, be it with kindness or cruelty.

I’ll note that I’d only seen snippets of the movie going in, and had heard the cast album, so I knew basic story beats but not the details. I really enjoyed this show, and there were a number of things that made this show stand out for me.

First (and one rarely says this) there was the pre-show music. It was some of the best New Orleans Jazz I’ve heard in a long time. I walked down during intermission and spoke to the conductor. She indicated it was pre-recorded, but would need to look up the details. I emailed subscriber services and will hopefully get them, but it was just wonderful.

Second was the music. The folks behind the music and lyrics for this show, Pigpen Theatre Company, are a surprising folk music group that does theatrical music. I won’t say all songs were hits for me, but some are just spectacular. Songs like “Zostań” or “The Road Don’t Make You Young” or “The Lion Has Got No Teeth” are just spectacular. When I got home, I jumped onto Amazon and picked up the group’s first album.

Third was the puppetry. This show makes an interesting combination of actors in costume and puppetry for the menagerie of animals, and the puppetry aspect is wonderful. From simple effects to create Silver Star, the horse; to the suggestive aspects to create the lion, to the substantial effects used to create Rosie the Elephant: it was all wonderful. This was combined with a great lighting design that utilized shadows to create even stronger allusions.

Fourth was the acrobatics. We all know theatre song and dance, which for the most part is earthbound. This show brought in strong acrobatics of the Cirque Du Soleil variety: aerial swoops and juggling and tricks and all sorts of wonderous magic. It is unlike what you see in other shows (except perhaps some of the cheers in Bring It On).

Fifth was the staging. Unlike the show that just bussed out of the Pantages, Beauty and the Beast, this was not a show built on projections. It was built on suggestions and theatrical magic, of the conventional, not Disney^® kind. Rolling scaffolding became circus trains. Animals were puppets and shadows. The focus was on people and performances, not technology. This was theatre.

Lastly, but not leastly, was the performances. We had circus performers (read the credits) doing a wonderful job with stage and scripted performances on top of their acrobatics. We had leads (Zachary Keller as Jacob and Helen Krushinski as Marlena) with a strong chemistry (which evidently wasn’t the case in the movie).  Connor Sullivan was strong as the ringmaster August. I loved Javier Garcia’s Camel and Tyler West’s Walter. I also appreciated that the casting team didn’t cast with the typical slender showgirl mold in mind. The shapes were realistic, and that also made the performances a joy to watch. Just a really really strong cast.

What was weak about the show? I think the story might not be to everyone’s taste, especially with the domestic violence aspects of it. Those that do evil do get what they deserve, but people you grow to like die, and people are hurt. That’s a downer for some.

Would I recommend that you see the show? Yes. Forget the Disney magic of projects and Lion King puppets. This is the real thing: An enjoyable 2 hours and 2 minutes of theatrical magic that will leave you smiling through the show. Bring a sweater, it’s cold in the Pantages. For more information and tickets, see the Broadway in Hollywood Water for Elephants page.

Credits

Water for Elephants. Book by Rick Elice. Music and Lyrics by Pigpen Theatre Co. Based on the novel by Sara Gruen. Original Direction by Jessica Stone.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]:  Zachary Keller Jacob Jankowski; Helen Krushinski Marlena / June; Connor Sullivan August / Charlie; Robert Tully Older Jacob Jankowski; Javier Garcia Camel; Ruby Gibbs Barbara; Grant Huneycutt Wade, Rosie (an elephant); Tyler West Walter; Yves Artières Silver Star (a horse) / Kinker & Roust; Gabriela Diaz Agnes (an orangutan) / Kinker & Roust; Adam Fullick Rex (a lion) / Kinker & Roust; Ella Huestis ↑ Summer Severin Rosie (an elephant) / Nurse Rosemary / Kinker & Roust; Zakeyia Lacey Vera / Kinker & Roust; Jose Martinez Kinker & Roust; John Neurohr Caretaker / Rosie (an elephant) / Kinker & Roust; Bradley Parrish Sal / Rosie (an elephant) / Worker / Kinker & Roust; Carl Robinett Rosie (an elephant) / Orderly / Kinker & Roust; Serafina Walker Kinker & Roust, Circus Captain; Yemie Woo Sue / Kinker & Roust; Kayden Woodrige Kinker & Roust. Swings: Chris Carsten, Glenn Doyle, Andrew Meier Fight Captain, Marina Mendoza Circus Captain, ↑ Summer Severin Dance Captain.

Music Department (🌴 indicates local): Pigpen Theatre Co. Music and Lyrics; Benedict Braxton-Smith Music Supervisor, Co-Arranger & Co-Orchestrator; Daryl Waters Co-Orchestrator; August Eriksmoen Co-Orchestrator; Mary-Mitchell Campbell Co-Arranger; Sarah Pool Music Director, Conductor, Keyboard 1, Harmonica; Cameron Edmiston Assoc Conductor, Keyboard 2; Hope Chernesky Violin, Concert Master; Tristan Shafran Reeds; Cort Baussmann Trumpet; Millisa Henderson Guitars; Bakari Williams Acoustic/Electric Bass; Spencer Inch Drums, Percussion; 🌴 Jeff Driskill Flute, Piccolo, Clarinet, Bass Clarinet, Alto Sax, Bari Sax; 🌴 Aaron Smith Trumpet, Flugelhorn; 🌴 Dan Lutz Acoustic Bass, 5-String Electric Bass; 🌴 Eric Heinly Orchestra Contractor;  John Mezzio Music Coordinator;  Randy Cohen / Randy Cohen Keyboards Keyboard Programming; Sam Starobin, Drew Nichols, Nick, Schenkel, Tim Crook Associate Keyboard Programmers; Julianne B. Merrill, Patchmaster Productions Playback Engineer; Lexi Vollero, PatchMaster Productions Assoc Playback Engineer; Emily Grishman Music Perparation/Adriana Grace Music Copying.

Production and Creative: Rick Elice Book; Pigpen Theatre Co Music & Lyrics; Sara Gruen Novelist; Jessica Stone Original Director; Shana Carroll Circus Designer & Co-Choreographer; Jesse Robb Co-Choreographer; Ryan Emmons Tour Director; Paige Parkhill Assoc. Choreographer; Antoine Boissereau Assoc Circus Designer; Takeshi Kata Scenic Designer; David I. Reynoso Costume Designer; Bradley King Lighting Designer; Walter Trarbach Sound Designer; David Bengali Projection Designer; Luc Verschueren for Campbell Young Associates Hair, Wig, & Makeup Designer; Ray Wetmore & JR Goodman Props and Puppetry Designer; Camille Labarre Puppetry Designer; Joshua Holden Puppet Director; Cha Ramos Fight Director; The TRC Company Casting; Bond Theatrical Tour Booking; Kathleen Carragee Production Stage Manager; Riley Gibson Stage Manager; Élianne Desilets-Dubé Asst Stage Manager; Stan Barile Circus Assistant Stage Manager; Greg Bawdon Company Manager; Jose Amengual Asst Company Manager; Gentry & Associates General Management.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania. If you are looking for discount tickets, TodayTix (unlike their predecessor Goldstar Events) doesn’t handle the small theatres in LA. Luckily, Theatre Source LA has a new initiative: StageRushLA for discount tickets.

Sadly, since my last theatre outing in August, we’ve lost one of my favorite theatrical venues due to fire: the historical building housing Newhall Refinery, Care/Tucker Design, The Main, and El Troc was destroyed by a 3-alarm fire. Luckily, Canyon Theatre Guild next door was spared. I’ve been attending “The Main”, and it’s previous incarnation, Rep East Playhouse, since all the way back in 2006. Twenty years. Let’s pour a glass for the art and artists of Rep East/The Main, and hope that small and vital venues like The Main return to Santa Clarita soon. While you’re at it, contribute to support the artists of The Main who lost all their gear (they were in the middle of a show run).

Upcoming

Key: 🎭 Theatre / 🎼 Music /  Other Live Performance – Next 90ish Days (🎫 indicates ticketing is pending).

• September:  🎼 Sutton Foster at The Soraya; 🎭 The Visit at Pasadena Playhouse; 🎭 Catch Me If You Can at The Colony Theatre; 
• October: 🎭 The Outsiders at BIH/Pantages; 🎭 Come From Away at Olive Branch Theatricals;  🎼 Branford Marsalis & Dianne Reeves Celebrate John Coltrane at The Soraya; 🎭 Les Miserables at 5-Star Theatricals; 🎼 Gershwin and the Golden Age (feat. Michael Feinstein) at The Soraya; 🎭 The Who’s Tommy at BIH/Pantages.
• November: 🎭 Things are Looking Up at the Binge Festival of Free Theatre/Santa Monica Playhouse (Livestream); 🎭 Passing Strange at Pasadena Playhouse; 🎭 Oh Mary at CTG/Ahmanson;  Dance Theatre of Harlem at The Soraya; 🎭 Road Show at Chromolume Theatre; 🎭 Destiny of Desire at CTG/Taper.
• December: 🎭 Candide at LA Opera; 🎭🎫 Big Fish at Conundrum; 🎼 Spanish Harlem Orchestra at The Soraya; 🎭 Christmas Carol Goes Wrong at CTG/Ahmanson.

There are shows out there that rapidly become retreads. You know the shows. You see them all the time. They seem to be endlessly done by regional theatres and community groups, and there always seems to be a tour of the show going somewhere. These shows are reliable money-making engines for the theatres that host them. You know them—shows such as The Music Man (soon to be at Center Theatre Group), The Sound of Music (recently at Broadway in Hollywood (BIH)), and the subject of this write-up, Beauty and the Beast, which we saw last at BIH/Hollywood Pantages).

According to my notes, we most recently saw Beauty and the Beast in an excellent production at 5-Star Theatricals in 2018, starring the original Broadway Belle, Susan Egan, in the lead. Having an older woman playing Belle instead of a 18-19 year old characterization beings whole new layers of meaning to that role, and it really changed the impression of the show for the better. I recommend folks read that writeup for some interesting observations regarding Belle and her agency, Gaston and the behavior of men (and viewing Gaston in the era of Donald Trump), and how society’s changing view of consent has changed how we see the Beast’s and Belle’s relationship. You can find the writeup here.

But that, of course, wasn’t the first time we’ve seen it. We saw the “Jr.” version in 2011 at Nobel Middle School. Although I couldn’t find the Playbill for it, I surely saw it the first time it came through Los Angeles on tour, likely at the Pantages. I’ve known and memorized the cast album. So I know the show well-enough.

So we come to the 2025-2026 Broadway in Hollywood Season, and Beauty and the Beast is the closing show. Sigh. I wasn’t that excited to see it again, but it’s been almost 10 years since the last time, so… well… OK. But this was tempered by some posts I saw on reddit, in particular this post about the cheapness of the new National Tour, and this post with worries about this new National Tour going on to Broadway.  I was curious. Was it really as bad as the redditors were saying? So after a lovely SoCalGamesDay,  we toddled over to the Pantages to see the show. My verdict? The show is not the train wreck Reddit made it out to be. In fact, the Reddit posts got many facts about this particular tour wrong (likely clouded by the nostalgia of memory). But there were some problematic aspects and changed that I didn’t particularly like, and those I’ll blame on the creatives (director, choreography, and scenic designer).

I presume that after all this time, I don’t need to give a synopsis of the show. If you really need one, toddle over to Wikipedia and you can find it. If I was to try to summarize it, bookish young woman (Belle) in 1800s village in France catches the eye of a narcissist man (Gaston) who won’t leave her alone and insists that she must marry him. She refuses, which pisses him off. Her father (Maurice) gets lost in a forest and ends up in an enchanted castle with a beast (Beast) and enchanted objects and is imprisoned. Belle takes his place, raising the hopes of the objects in the castle that the spell might be broken. Things start out rough between Belle and Beast, but some dance numbers and touching moments change the relationship. Maurice returns to the village, tells of the Beast, and Gaston tries to prove him crazy. But when Maurice shows the Beast is real, Gaston leads a mob to kill him, thinking it will win him Belle. Of course, this being Disney, Gaston falls off a parapet and dies, true love wins out in the end, and the enchantment is broken.

So what did I think of the show?

First, you must admire the marketing machine that is Disney. From a special digital photo-taking station in the lobby (at something like $40 per), to an extreme amount of merch, to special tickets that gave you more merch, to having staffers hawking all this stuff in the lobby: It is clear that Disney knows how to market and sell, sell, sell. No wonder they want this back on Broadway. Of course, the Disney FAN-atics eat it up, and combine it with the trend these days to cosplay at the theatre… it was a bit of a circus. At least folks weren’t singing along. There were loads of kids in the audience. Reasonably well behaved, and hopefully this will serve to introduce them to live theatre and get them hooked on the art form.

Next: The songs. One of the complaints in the reddit post was about the cutting of songs, in particular “Maison De Lune”, “No Matter What”, and “The Battle” (there was also a short song called “How Long Must This Go On” cut, but as it was less than a minute, no one remembers that). However, these cuts aren’t new. According to Wikipedia, «The libretto was revised by the original creative team for the 2021 UK tour. Most of the changes (except for the new reduced orchestration, which isn’t available for licensing), were added to the official licensed script in June 2021. Some of the changes include the removal of “Maison des Lunes” and “The Battle”, optional cuts to dance breaks and making “No Matter What” an optional song. The “Silly Girls” were renamed “Les Filles de la Ville”.»  As for the removal of those songs, I think there is still underscoring for “No Matter What” present, but the show can tolerate that removal (although I think the song should remain to show the depth of relationship between Belle and Maurice). “Maison De Lune” is a bigger problem; its removal creates confusion regarding the whole “lock up Maurice as insane” subplot in the second act. The asylum owner comes out of nowhere. The song is necessary to establish that subplot, so if the song is removed more book rework is required.

I’ll also note that one of the songs seemed new to me (“A Change in Me”), but it turns out that song isn’t new. It just isn’t on the cast album because it was added after the album was recorded—it was added in 1998 for Toni Braxton and has been part of the show since. It apparently is on one of Susan Egan’s albums.

Another complaint in the reddit posts was that the songs were supposedly cut to allow lengthening of the dance breaks. Although they were wrong about when and why the songs were cut, there is a dance break problem in the show. The are basically too long. It is as if the choreographer saw the success of the long dance breaks in Aladdin, and thought “Well, if it worked there…”. This is particularly noticeable in the “Gaston” number, as well as in “Be Our Guest”. Further, why oh why does every show these days need a confetti cannon? I’ve complained about this before. It adds unneeded trash to the waste stream, and does nothing to advance the plot. Further, the type of cannon used in BITB creates a massive trip hazard in the aisle.

In terms of other book changes: I could swear that there was a scenes where the household objects in the castle attacked the intruders while Gaston hunted for the Beast. But rereading Wikipedia, this also appears to have been cut as part of the 2021 UK changes. I think it is a loss. But, again, that could just be a nostalgia aspect coming into play.

The other major complaints from the reddit posts were regarding the use of projections and the simplification of costumes. These design aspects were less of a problem. Shows have increasingly moved towards projections instead of actual scenery, as they are cheaper to tour. Anastasia is one big screen. Whether the projections make it to the new rumored Broadway production is unknown. There were also complaints about the rococo used to echo the castle instead of real set pieces and flats. I can understand the economics and logistics of why this was done on tour; but I do believe that a stronger echo could have been created. It’s not that hard to have stairs and walls be created that could support the projections better.

The costumes were generally quite good, although I do seem to remember more magical objects dancing during “Be Our Guest”. But the current approach is entertaining, and I had no problem with the costume simplification. Well, except for one: I kept seeing Belle as Dorothy in the Wizard of Oz; perhaps this is because we saw Wizard of Oz at 5-Star theatricals quite recently. But then, I also felt echoes of Phantom of the Opera in the Beast’s scene with the fog machines at the end of Act I.

I did have some design issues with the show, however. I don’t recall Maurice’s invention being a fancy electric motorized scooter; that seems really anachronistic and takes one out of the timeline. Similarly, the large plug that Belle reinstalls during “Be Our Guest” seems wrong for an 18th Century French Castle.

The Disney magic is still there. I’m still trying to figure out the specifics of the Chip illusion (I’m thinking small kid plus mirrors), and I’ve never been able to figure out the Beast’s transformation on stage. I watched closely with binoculars. I couldn’t see it.

This brings us to the performances. At our show, we had the understudy, Melaina Rairamo, playing Belle. She was spectacular, channeling Susan Egan in her humor and voice. A real delight to watch and hear, and I hope we see her again in more shows. It was clear she was delighted to be on stage, and her joy just shone through. Fergie L. Philippe provided a strong Beast; I really enjoyed his playfullness and expression during the library scene. Stephan Mark Lukas was having fun with Gaston (although he needed more hair). Javier Ignacio made an interesting Cogsworth, but he kept making me think of John Oliver on stage.

Speaking of Gaston: It wasn’t until last night that I realized how little Gaston has to do in the second act. Once the love story starts, Gaston disappears. It’s almost as if you could remove Gaston from the story and bring in a realistic village fear about the beast and a subsequent attack, and it would work just as well (and eliminate some of the problematic aspects related to sexual power dynamics).

My only real performance complaint was with Harry Francis’ Lafou: He was far too cartoonish. This could have been the fault of the director, but in general the scenes with Lafou felt like a cartoon on stage, and it distracted from the real story. Lafou is a comic foil, but as this is a stage production there needs to be a bit more grounding in reality.

The orchestra provided great sound for such a small number of musicians.

So should you see this production of Beauty and the Beast? Is this production worth seeing? Should the tour version go to Broadway?

Three distinctly different questions. We’ll start with the middle: Is this production worth seeing? That depends on whether you want to line the pocketbooks of the Disney machine. There will be good regional productions that will be less expensive, and aren’t money grabs. Should you see this production? A touring version hasn’t come around in quite a few years, so if you want to see an Equity cast doing the show with the real Disney magic, it is worth it (but you don’t need center Orchestra; we do side Orchestra and we’re just fine).

Should this version go to Broadway? That’s a different question. The cast certainly should. Malania Rairamo certainly deserves the exposure and the stepping stone it would provide to a larger career on stage and in concerts. I think they should consider revising the book again to tone down the dance numbers a little, de-cartoon Lafou, and bring back “Maison De Lune”. Oh, and get rid of the confetti canon.

Beauty and the Beast continues at BIH/Hollywood Pantages through September 6, 2026. More information on the show is here, and visit this link for tickets.

Credits

Disney’s Beauty and the Beast. Music by Alan Menkin. Lyrics by Howard Ashman and Tim Rice. Book by Linda Woolverton. Directed and choreographed by Matt West.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Angela Lansbury Prologue Narrator Voice; Kyra Belle Johnson Melaina Rairamo Belle; Fergie L. Philippe Beast; Stephan Mark Lukas Gaston; Danny Gardner Lumiere; Christina Rose Hall Mrs. Potts; Javier Ignacio Cogsworth; Harry Francis Lefou; Aaron Kaburick Maurice; Holly Ann Butler Madame; Cameron Monroe Thomas Babette; Beatrice Goddard Beggs | Levi Blaise Coleman | Kanoa Edgar Chip. Ensemble: Benjamin Cheno, Spencer Dean Monsieur D’Arque, Julian Marcus DeGuzman, Michael Dikegoros, Masumi Iwai, Darrell T. Joe, Emily Larger Asst Dance Captain, Melaina Rairamo ↑ Lena Matthews Village Lass, Grace Marie Rusnice, Ben Sears Bookseller, Jasmine Pearl Villaroel Village Lass, Kate Wesler Enchantress, Village Lass. Swings: Vinny Andaloro, Leigh Ann Esty, ↑ Lena Matthews, Caleb McArthur, Ellen Roberts, Michael Seltzer Dance Captain, Fight Captain. Vacation Standby: Devin Archer Beast/Gaston. Vacation Swings: Brianna Ascione, Kristen Smith Davis, Matthew Marvin, Carson Hampton Palmer.

Music Department (🌴 indicates local): Michael Kosarin Music Supervision and Arrangements; Danny Troob Orchestrator; David Chase Dance Music Arrangements; Christoph Buskies Electronic Music Programming; Michael Aarons (M-Squared Music) Music Coordinator; David Andrew Rogers Music Director, Conductor; Connor Doran and Michael Hopewell Assoc. Conductors, Keyboards;  🌴 Jen Choi Fischer Violin; Dane Andersen Flute / Piccolo / Alto Flute; 🌴 Sean Franz Clarinet / Flute / Bass Clarinet; 🌴 Aaron Smith Trumpet / Flugelhorn / Piccolo Trumpet; 🌴 Emily Pesavento French Horn; 🌴 Nick Daley Trombone / Bass Trombone; Gary Seligson Drums / Percussion; Sam Groisser Music Associate / Keyboard Swing; Anja Wood (M-Squared Music) Assoc Music Coordinator; Anixter Rice Music Services Music Preparation; 🌴 Eric Heinly Local Music Contractor.

Production and Creative: Linda Woolverton Book; Alan Menken Composer; Howard Ashman Lyrics; Tim Rice Lyrics; Matt West Director, Choreographer; Stanley A. Meyer Scenic Design; Ann Hould-Ward Costume Design; Natasha Katz Lighting Design; John Shivers Sound Design; Rob Roth Production Conception; Darrel Maloney Video & Projection Design; David H. Lawrence Hair & Make-Up Design; Jim Steinmeyer Illusion Design; Lorenzo Pisoni Movement Coordinator; Sam Scalamoni Assoc Director; Steve Bebout Supervising Resident Director; Jenn Rias Assoc Choreographer; Erin N. Moore Assoc Choreographer; The TRC Company Casting; Neuro Tour Physical Therapy; Jason Trubitt Production Supervisor; Andrew Bacigalupo Production Stage Manager; Malashia Carter Asst Stage Manager; Kelley Lynne Moncrief Asst Stage Manager.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania. If you are looking for discount tickets, TodayTix (unlike their predecessor Goldstar Events) doesn’t handle the small theatres in LA. Luckily, Theatre Source LA has a new initiative: StageRushLA for discount tickets.

Upcoming

Key: 🎭 Theatre / 🎼 Music /  Other Live Performance – Next 90ish Days (🎫 indicates ticketing is pending).

• September: 🎭 Water for Elephants at BIH/Pantages; 🎼 Sutton Foster at The Soraya; 🎭 The Visit at Pasadena Playhouse; 🎭Every Brilliant Thing at The Main;  🎭🎫 Catch Me If You Can at The Colony Theatre; 
• October: 🎭 The Outsiders at BIH/Pantages; 🎼 Branford Marsalis & Dianne Reeves Celebrate John Coltrane at The Soraya; 🎭 Les Miserables at 5-Star Theatricals; 🎼 Gershwin and the Golden Age (feat. Michael Feinstein) at The Soraya; 🎭 The Who’s Tommy at BIH/Pantages.
• November: 🎭 Passing Strange at Pasadena Playhouse; 🎭 Oh Mary at CTG/Ahmanson;  Dance Theatre of Harlem at The Soraya; 🎭 Road Show at Chromolume Theatre; 🎭 Destiny of Desire at CTG/Taper.
• December: 🎭 Candide at LA Opera; 🎼🎫 Go Jazz at The Main (Tent. Date); 🎭🎫 Big Fish at Conundrum; 🎼 Spanish Harlem Orchestra at The Soraya; 🎭 Christmas Carol Goes Wrong at CTG/Ahmanson.