We all know that opening nights can go one of two ways; either a riot of mistakes ,technical blunders and missed lines or that rare perfect explosion of nervous energy which propels the production to new heights. I’m happy to say that tonight, on April Fool’s day, this is no blundering joke, instead it is one of those unique stunning, wonderful events.
But this is no happy accident. Whether by stick or carrot, Director Louise Sables pulls off a masterclass of amateur direction and casting, to marshal the talented folks of EMT to tell a simple story with real emotion, humour and clarity, and at a pace that many a professional production would only dream of, whilst eking out a meagre budget in all the right places.
Take the costumes for example: to open the programme and find that the majority of the creations on stage have been handmade by the cast is quite extraordinary. Special kudos to Architect-by-day Abigail VanderLek, for Cogsworth and Madame de le Grande Bouche’s amazing cardboard and aluminium creations. Likewise the set design is wonderfully efficient and transforms in seconds with military precision under the assured hand of Production and Stage manager Charlie Johnson-Walker. The use of back projection on to the rear cloth to both light the stage and set the scenes is also perfectly handled and the slickness of this device seems to rub of on the cast.
A trio of quite frankly superb performances from Wallis Hamilton Carmichael as Belle, Louis Delaney as Gaston and Seb Schneeberger as The Beast, sets this production on a near vertical trajectory.
Carmichael’s gentle American accent plays homage to the story’s Disney origins and she maintains it perfectly across both her acting and singing. She also manages to imbue the protagonist with both a vulnerability and a grittiness which shows off her acting talents and rounds out the character very nicely. But it is when she sings that we really take notice – what a voice she has. It is something of a revelation. That’s a V8 engine in a mini right there!
Delaney, the muscle-bound would-be love interest of our heroine is perfectly cast as the bullying low-brow chauvinist, who chases but never quite catches Belle. His low notes have toes curling and the three simpering girls in love with Gaston swooning. Perhaps adding a bit of orange to his chops might have made this positively primordial hunk even more perfect, but no complaints here.
At the heart of this story is Schneeberger’s beast, who has the biggest arc to go through from snarling, barely discernible shagpile to refined Adonis. This is so well handled by director and actor alike that the climactic transformation manages to draw screams and gasps – and not just from the female contingent! But it is in singing mode that the beast excels in showing off his wonderful operatic range, and his humanity.
But what would this production be without the music? MD, Libby Crabtree is a blur of arms in the pit leading a wonderful band, conducting and playing piano and wishing she had a third arm. When the whole cast is on stage singing their lungs out this is an absolute tour de force, and the opening number Belle sets the stage perfectly. Other highlights include Gaston, sung with passion and verve by the loveable sidekick LeFou played by Sean Vannet, and who can forget Be Our Guest, with the treat of Peter Tomassi turned candlestick Frenching it up.
By the end of this quick two and a half hours, the audience rises as one to whoop, cheer and generally applaude a great night of entertainment. I defy anyone to come and watch this and not leave with a smile on their face a lighter heart and humming the ear worm tunes for the next week. Brilliant!
Reviewer: Greg Holstead
Reviewed: 1st April 2025
North West End UK Rating:
Rating: 5 out of 5.
Running time – 2hrs 30mins (with interval)