BATB Production Handbook

P RO D U C T I O N H A N D B O O K

TABLE OF CONTENTS The Beauty and the Beast Production Handbook is here to guide you through all aspects of production: from casting to design to rehearsal exercises and beyond. Disney Theatrical Productions took what we learned from the original Broadway, touring and international productions, as well as various high school productions, to craft a guidebook for creating your own vision of the show. To help you organize your approach to this material and your staging and rehearsal processes, we have divided this handbook into three sections: •

Before You Begin includes information you’ll want to start thinking about before you jump into rehearsals.

•

In Rehearsal consists of material that will assist you in working with your actors and singers.

•

Beyond the Stage contains information that will help to craft an engaging and rewarding production for actors and audiences alike (consider referencing this section both before and during your rehearsal process).

Incorporate the material in these pages as you see fit, and above all: Enjoy!

BEFORE YOU BEGIN 1 INTRODUCTION ............................................................................................................................

2 PAGE TO STAGE & BEYOND ......................................................................................................

9 DRAMATURGY ...............................................................................................................................

15 CASTING ..........................................................................................................................................

19 DESIGN .............................................................................................................................................

IN REHEARSAL 37 MUSIC DIRECTION .......................................................................................................................

43 REHEARSAL EXERCISES .............................................................................................................

46 STAGING ..........................................................................................................................................

BEYOND THE STAGE 54 AUDIENCE & STUDENT ENGAGEMENT ...............................................................................

67 RESOURCES ....................................................................................................................................

72 CREDITS ...........................................................................................................................................

Certain as the sun Rising in the east Tale as old as time Song as old as rhyme Beauty and the Beast

—“Beauty and the Beast” lyrics by Howard Ashman

INTRODUCTION

WELCOME TO BEAUTY AND THE BEAST! In 1994, Beauty and the Beast opened at the Palace Theatre, becoming Disney’s first Broadway musical. In its over 25-year history, the show has played all over the world, transcending language and culture. From professional productions to community theatres to high school auditoriums, Beauty and the Beast has become a timeless classic for performers and audiences of all ages.

Over the years, the show has gone through many changes in both song and book and has been produced in a range of venues and with varying budgets. What remains true in every production is the rich and emotional story about the healing power of love. Just as the Beast learns to love another, Belle’s journey leads her to see beyond the exterior into someone’s heart. If your production focuses on the emotional relationships and core themes of love and acceptance, it will resonate with any audience.

One of the most rewarding parts of producing Beauty and the Beast is the opportunity for performers and designers to bring to life these iconic, beloved characters. We encourage all directors to think expansively when casting the show. This fairy tale welcomes performers of all identities and backgrounds and can serve as a model of inclusion in your community. Let your imagination run free and make this “tale as old as time” your own.

It is our hope that you will experience the same joy and magic that we have in bringing this story and these characters to the stage. So, now…it is with deepest pride and greatest pleasure that we welcome you to this handbook and your very own production of Beauty and the Beast!

Your friends at Disney Theatrical Group

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Beauty and the Beast Production Handbook

PAGE TO STAGE & BEYOND PRODUCTION HISTORY

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eauty and the Beast’s journey – from classic French fairy tale, to award-winning Disney animated feature, to one of the world’s most produced stage musicals, to live-action film – is as adventurous as the story of its brave young hero.

Tale as Old as Time The story of a “beauty” and her “beast” has enchanted children and adults around the world for centuries. Rooted in legends from ancient Greece, India, and Africa, the “tale as old as time” has been interpreted in myriad cultures and periods, each version reflecting the hopes, fears, moral codes, and gender stereotypes of the society in which it was written. The best-known version of “Beauty and the Beast” is unique among fairy tales, based on the literary work of two women, Madame Gabrielle-Suzanne Barbot de Villeneuve (1685-1755) and Madame Jeanne-Marie Leprince de Beaumont (1711-1780), rather than the famous male authors of the genre: Charles Perrault (1628-1703), the Brothers Grimm (Jacob: 1785-1863, Wilhelm: 1786-1859), and Hans Christian Andersen (1805-1875).

In 1740, Villeneuve published "La Belle et la Bête," not as a platform for educating children or examining French society, but rather to entertain her salon friends with the romantic intertwined histories of a beauty and her beast. In 1756, Beaumont emigrated from France to England, becoming a tutor and author. She shortened Villeneuve’s version, leaving out the personal histories of Beauty and the Beast and ending the story with the Beast’s transformation. In the hands of two female authors, being well-read became a defining quality of this modern hero, who continues to attract fans over two centuries later. (For more on fairy tale antecedents, see pp. 9-12 in the Dramaturgy chapter of this handbook.)

A New Hero for the Next Generation In the late 1980s, Walt Disney Animation Studios looked back to its roots in using fairy tales as source material to inspire its next generation of films. With The Little Mermaid showing promise in production, company leaders saw in the tale of “Beauty and the Beast” a rich basis for a feature that could break new ground for the genre and its archetypal hero, yet still feel like a natural successor to Disney animated classics like Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959).

In adapting this fairy tale for a new medium and the approaching millennium, writer Linda Woolverton, lyricist Howard Ashman, composer Alan Menken, producer Don Hahn, and directors Kirk Wise and Gary Trousdale undertook significant revisions to the Beaumont version, as she had done with her own adaptation. Their Belle would stand out as a hero for the 1990s – not just beautiful and virtuous, but also smart and strong-willed, unafraid to challenge the Beast. She would be tormented not by wicked sisters, as in the source story, but by an outwardly handsome suitor, Gaston, who was truly a beast inside. Instead of being left alone in the castle with the Beast, Belle would be entertained by staff who had been transformed into household objects by the same spell that cursed the Prince. A teapot-cook, clock-butler, candelabra-valet, and many others would sing, dance, and weave their own spell of fun and enchantment on this young woman who might relieve them of the curse – if the Beast could learn to love her, and she freely return that love.

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Beauty and the Beast Production Handbook

Released in November 1991, Disney’s animated Beauty and the Beast garnered widespread acclaim. Critics praised its songs as worthy of a stage musical and observed that a Broadway sensibility also infused the film’s staging and characterizations. Beauty and the Beast received six Academy Award® nominations. In the era before the introduction of the Best Animated Feature category, Beauty and the Beast was the first animated feature to be nominated for Best Picture and the first film to be nominated for three songs: “Belle,” “Be Our Guest,” and “Beauty and the Beast.” The film took home Oscars® for Best Original Score and Best Original Song (“Beauty and the Beast”).

1991 Disney animated film ©Disney

Coming Home to the Theater In 1992, theater veteran, Robert Jess Roth – who staged the original Beauty and the Beast live theme park show – approached Michael Eisner to discuss the idea of doing a Broadway version. Although the idea seemed absurd at the time, Eisner and his colleagues soon warmed to it and plans were quickly put in place to mount a live stage version in New York City.

Linda Woolverton, who is credited with the screenplay, was tapped to write the book for the Broadway production.

The Oscar®-winning score by composer Alan Menken and the late lyricist Howard Ashman was expanded for the stage with seven new songs by Menken and lyricist Sir Tim Rice, including the ballads “Home” for Belle and “If I Can’t Love Her” for the Beast. In addition, “Human Again,” an unused full-ensemble song that Ashman and Menken wrote for the film, found a suitable home in the musical’s second act.

Scenic designer Stanley A. Meyer and now legendary lighting designer Natasha Katz crafted a unique fairy tale atmosphere for the stage through contrasting modes: a bright provincial fairy tale village and the ominous darkness of an enchanted castle. Respected Broadway costume designer Ann Hould-Ward created enchanted objects who transformed further over the course of the play. She worked with choreographer Matt West to ensure that these spectacular but often voluminous object creations could accommodate human movement, particularly for the show-stopping production number, “Be Our Guest.” Finally, in order to set up this high-stakes dream for success, company executives Ron Logan and Robert McTyre established a new entity: Walt Disney Theatrical Productions.

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Beauty and the Beast Production Handbook

The Moment of Truth After two years of creative development, the new stage musical was ready for an audience – the true test of what’s working and what isn’t. Like most musicals, Beauty and the Beast went “out of town” to allow time and distance from New York so the team could make improvements before a Broadway premiere. At the end of 1993, the show played 40 performances at the Theatre Under the Stars in Houston, Texas. On March 9, 1994, Beauty and the Beast began previews at New York City’s iconic Palace Theatre. Its opening night on April 18 marked the official launch of Disney on Broadway.

Beauty and the Beast earned nine Tony Award® nominations, including Best Musical, Best Director (Rob Roth), Best Score (Alan Menken, Howard Ashman, and Tim Rice), Best Book of Musical (Linda Woolverton), Best Lighting Design (Natasha Katz), Best Costume Design (Ann Hould-Ward), Best Actress (Susan Egan as Belle), Best Actor (Terrence Mann as the Beast), and Best Supporting Actor (Gary Beach as Lumiere). Ann Hould-Ward took home her first Tony® that year.

Beauty and the Beast continued to gain recognition in the music world when the Original Broadway Cast Recording was nominated for a GRAMMY® Award. In order to be available for sale by first preview, the cast album was recorded on the second day of Broadway rehearsals, while the show was still evolving. As a result, the recording features lyrics and even an entire verse of “Home” that never made it to opening night.

“Be Our Guest” in the original Broadway production of Beauty and the Beast.

Photograph by Joan Marcus. ©Disney

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Beauty and the Beast Production Handbook

A Change in Beauty and the Beast Unlike a movie’s premiere, where the work of art is memorialized in final form, a living, breathing musical’s Broadway opening is simply a milestone in a continuing journey of creative potential, including changes to the show itself. For example, Belle’s current 11-o’clock number, “A Change in Me,” was written by Menken and Rice when Toni Braxton joined the Broadway cast in 1998. The song was a hit, so it became a permanent part of the score. The song transformed yet again in 2005 when Ashley Brown, who had sung the song with a new ending in Disney’s touring musical revue On the Record, brought this version to Broadway when she became the 15th Belle.

Beauty and the Beast’s Broadway tale also included a change of venue. After playing five years at the Palace, a slightly reimagined production opened at the LuntFontanne Theatre on November 11, 1999, where it ran successfully until July 29, 2007. The musical played a total of 46 previews and 5,464 regular performances, making it the sixth longest-running Broadway show at that time.

As of 2019, it holds the record as the longest-running production at both theaters.

Over the course of Beauty and the Beast’s 13-plus-year run on Broadway, over 150 musicians and 250 actors performed in the production, including 17 in the role of Belle and 27 in the role of Chip. Actor Steve Blanchard, who had played both Gaston and the Beast in the Toronto production, spent a year as Gaston on Broadway before playing the title role for a record 3,358 performances.

Toni Braxton as Belle on Broadway Photograph by Joan Marcus ©Disney

There Must Be More Than This Broadway Life Successful Broadway shows are often called to markets beyond the Great White Way, and Beauty and the Beast was no exception. From November 1995 through August 2003, the musical’s two North American national tours played 137 combined engagements over 370 playing weeks in 90 cities in 36 states and throughout Canada. The tours played a total of 2,893 performances to more than 5.7 million audience members, traveling 83,848 miles – enough to circle the globe more than three times. Around the world, Disney’s production of Beauty and the Beast has played in over 100 cities in more than a dozen countries on every continent except Antarctica.

In late 2004, Disney’s Beauty and the Beast began its journey beyond the iconic Disney production when the musical was released for licensing through Music Theatre International (MTI), ready for new artistic interpretations in local productions. Since then, Beauty and the Beast – along with Beauty and the Beast JR., a one-hour adaptation for middle school performers released in 2008 – has been performed by tens of thousands of school, community, and professional theater groups, as well as international theater groups everywhere from Finland to the Philippines. As of its 25th Anniversary in 2019, between Disney and licensed productions, Beauty and the Beast had been translated into 17 languages, produced in 37 countries, and seen by more than 35 million people at over 28,000 performances.

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Beauty and the Beast Production Handbook

Even after remarkable success, Disney’s creative journey with Beauty and the Beast is far from over. As audiences were flocking to movie theaters for Walt Disney Studios's 2017 live-action remake, which featured new Menken/Rice songs, the stage musical team began meeting to discuss fresh ideas for reviving the Disney production. Like Belle with her favorite books, audiences and artists are eager to revisit the “tale as old as time” again and again.

2017 live-action Beauty and the Beast film ©Disney

SYNOPSIS ACT ONE Once upon a time in a faraway land, an Enchantress turns a selfish and spoiled young Prince into a hideous beast. To break the spell, the Beast must learn to love another and earn their love in return before the last petal falls from an enchanted rose. If he cannot, he will be doomed to remain a beast for all time.

Meanwhile, Belle, a young woman in a provincial French village, arises to greet the morning. The villagers bustle about their daily business as Belle makes her way through the town, engrossed in a book. While the villagers gossip about how odd they find her introversion and love of reading, the boorish Gaston plots to marry her solely on account of her looks (Belle).

Belle arrives home to find her father, Maurice, struggling to stabilize his newest invention. Belle confides in him her worries that people think she is odd. Maurice reassures her, and once he finally fixes his machine, sets off to showcase his brilliant work at the fair. Soon, however, Maurice loses his way in the woods and encounters a pack of wolves (Maurice Travels). Fleeing for his safety, Maurice stumbles upon a castle and pleads for shelter. Once inside, he encounters the enchanted staff – Lumiere, Cogsworth, Mrs. Potts, Chip, and Babette – who were also transformed by the Enchantress’s spell. After Maurice’s initial shock, they try to make him feel comfortable, but the Beast appears and imprisons the intruder.

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Beauty and the Beast Production Handbook

Back in the village, Gaston proposes to Belle (Me), much to the dismay of the twittering Filles de la Ville. Belle refuses him and expresses her longing for adventure outside the mundanity of village life (Belle – Reprise). Belle notices Lefou wearing her father’s scarf which he says he found in the woods. Concerned for her father, she runs off in search of Maurice.

As the castle staff transforms more completely into objects each day, Lumiere and Cogsworth lose hope that the spell will ever be broken; however, their hope returns when Belle enters the castle in search of her father. Belle finds Maurice in the dungeon, but the Beast appears and prevents their escape. She offers herself in exchange for Maurice’s freedom; the Beast agrees, sending Maurice back to the village and Belle to her new room where she reflects on her choice (Home). Mrs. Potts and the enchanted wardrobe, Madame de la Grande Bouche, encourage Belle not to lose hope (Home – Reprise).

At the village tavern, Gaston mopes about his rejection while his cronies try to boost his spirits (Gaston). When Maurice barges in claiming that a monstrous beast is holding Belle captive, Gaston devises a plan to trick Belle into marrying him (Gaston – Reprise).

Meanwhile, the castle staff tries to teach the Beast to act like a gentleman, but when Belle refuses to join him for dinner, he loses his temper (How Long Must This Go On?). Meanwhile, the enchanted staff serves a hungry Belle an extravagant meal, despite their master’s orders (Be Our Guest). Afterward, Cogsworth and Lumiere lead Belle on a tour of the castle, but when Belle sneaks into the west wing, the Beast discovers her and once again loses his temper. A frightened Belle flees the castle, leaving the Beast alone with his remorse (If I Can’t Love Her).

ACT TWO As Belle dashes through the forest, a pack of wolves advances on her, but the Beast leaps in and saves her. Having a change of heart, Belle accompanies the Beast back to the castle and tends to his wounded arm. The staff – as well as Belle and the Beast – notice that there is a change between them (Something There). Belle and the Beast bond, giving the staff hope that the spell soon might be broken (Human Again). Belle asks the Beast to have dinner with her, and the two share a wonderful evening that concludes with a dance (Beauty and the Beast).

Despite her feelings for the Beast, Belle longs to see her father. Using the Beast’s magic mirror, Belle sees that Maurice is in trouble, and the Beast lets her go in order for her to save her father from Gaston and a frightened and angry mob.

Though the Beast has finally learned to love, he fears he has lost his final chance to regain his humanity before the last rose petal falls (If I Can’t Love Her – Reprise).

Belle finds her father in the woods and, upon returning to the village, confesses that the Beast has changed the way she sees the world (A Change in Me). Gaston, accompanied by Monsieur D’Arque, the asylum proprietor, arrives with plans to send Maurice to the asylum if Belle refuses his marriage proposal. To prove her father’s words are true, Belle uses the Beast's magic mirror to show him to the villagers. Jealous of Belle’s kind words for such a “monster,” Gaston emboldens the villagers to set off on a quest to storm the castle and kill the Beast, while Belle vows to return to the castle to warn him (The Mob Song).

Once he’s infiltrated the castle, Gaston confronts the Beast in the west wing and stabs him before stumbling and falling off the turret to his death. Belle arrives and holds the dying Beast in her arms, telling him that she loves him (Home – Reprise), thereby breaking the spell. The Beast transforms back into the Prince, the staff becomes human again, and they all live happily ever after (Transformation/Finale).

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Beauty and the Beast Production Handbook

CREATIVE TEAM ALAN MENKEN (Music) Theater: God Bless You, Mr. Rosewater; Little Shop of Horrors; Real Life Funnies; Atina, Evil Queen of The Galaxy; Kicks; The Apprenticeship of Duddy Kravitz; Beauty and the Beast; A Christmas Carol; Weird Romance; King David; Aladdin; The Hunchback of Notre Dame; The Little Mermaid; Sister Act; Leap of Faith; A Bronx Tale; Newsies; and Hercules. Film: Little Shop of Horrors, The Little Mermaid, Beauty and the Beast, Newsies, Aladdin, Pocahontas, The Hunchback of Notre Dame, Hercules, Life with Mikey, Lincoln, Home on the Range, Noel, Enchanted, The Shaggy Dog, Tangled, Sausage Party, and Mirror Mirror. Songs: Rocky V, Home Alone 2, and Captain America: The First Avenger. Awards: 8 Academy Awards® (19 nominations), 11 GRAMMY® Awards (including Song of the Year); 7 Golden Globes; 3 Outer Critics Circle Awards; and 1 each of Tony®, Drama Desk, New York Drama Critics, Olivier, and London’s Evening Standard Awards. Honors: Songwriters Hall of Fame and doctorates from New York University and University of North Carolina School of the Arts.

HOWARD ASHMAN (Lyrics) Best known as a pivotal creative mind behind animated feature films The Little Mermaid and Beauty and the Beast (which is dedicated to “Our friend, Howard Ashman, who gave a mermaid her voice and a beast his soul…”), Ashman’s first love was theater. Ashman was a founder of Off-Off-Broadway’s renowned WPA Theater, where he conceived, wrote, and directed God Bless You, Mr. Rosewater, as well as the classic musical, Little Shop of Horrors (both with music by Alan Menken). In 1986, he wrote and directed the Broadway musical Smile (music

by Marvin Hamlisch). With Alan Menken, Ashman received two Oscars® and 2 Golden Globes® for Best Song and 4 GRAMMY® Awards. They received an Oscar® for “Beauty and the Beast” from Beauty and the Beast. Howard Ashman died in 1991 of complications from AIDS. TIM RICE (Lyrics) Tim Rice has been writing lyrics for musical theater and related enterprises for nearly 50 years.

Theater: Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita, and The Wizard of Oz with Andrew Lloyd Webber; Aladdin, King David, and Beauty and the Beast with Alan Menken; Chess with Björn Ulvaeus and Benny Andersson; The Lion King and Aida with Elton John; and From Here to Eternity with Stuart Brayson. Film: Aladdin, The Lion King, The Road to El Dorado, and Beauty and the Beast (three new songs for the live-action feature). Awards include 3 Academy Awards®, 3 Golden Globes, 3 GRAMMY® Awards, and an Emmy® Award.

LINDA WOOLVERTON (Book) Film: Beauty and the Beast Disney animated feature (Golden Globe winner and Academy Award® Best Picture nominee), Maleficent, Maleficent: Mistress of Evil (shared with Noah Harpster), Alice in Wonderland live-action feature, Alice Through the Looking Glass, Homeward Bound: The Incredible Journey, and The Lion King animated feature. Theater: Beauty and the Beast (Tony Award® nomination for Best Book of a Musical, winner of the Olivier Award for Best New Musical) and Aida. Additionally, she has written two young adult novels, Star-Wind and Running Before the Wind. In 2008, Woolverton received a Lifetime Achievement Award from the Writers Guild of America’s Animation Writers Caucus for her longtime work in the field of animation. She holds a bachelor’s degree in Theatre Arts from California State University, Long Beach, and a master’s degree in Theatre from California State University, Fullerton.

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Beauty and the Beast Production Handbook

DRAMATURGY DRAMATURGY T

here’s a lot more to Beauty and the Beast than what you see onstage each night. While the musical is entirely fictional, it has a rich literary history and is set against a background of a real place (the Alsace region of France) and time (late 18th century). While some professional theaters have dramaturgs on staff to explain literary references or details in a script, actors who undertake their own character, period, and text research are always one step ahead; and such cultural explorations can be very helpful to an actor’s creative process. The following pages explore the literary origins of Beauty and the Beast and are a great jumping off point for dramaturgical research.

UTILIZING A DRAMATURG Perhaps there is one cast or production member who wants to take on the role of dramaturg, making a more comprehensive glossary complete with historical information about France in the 18th and 19th centuries. (How would citizens of a provincial French village have dressed? What would they be eating and drinking in a tavern? What architectural styles might have been prevalent in the Beast’s castle? Would Belle’s literary proclivities have been revolutionary?). They could also create and moderate an online forum for the cast and designers to share their own relevant research. The more your cast and creative team understand their characters and the world of the play, the better their portrayals and designs will be!

LITERARY ORIGINS OF BEAUTY AND THE BEAST Beauty and the Beast is, in many ways, a “tale as old as time.” While the 1991 animated film was primarily based on Jeanne-Marie Leprince de Beaumont’s 1756 fairy tale, “La Belle et la Bête,” the story’s roots can be found centuries earlier, with antecedents ranging from Roman mythology to African folk tales.

Fairy tales, folk tales, and fables are part of a tradition lasting millennia and spanning the globe. These stories, passed down orally and in written form, provide an avenue to explore topics common to members of a society. These oftendark tales routinely deal with innocent themes such as adolescence and love, but many also owe their longevity to their ability to explore taboo topics in a symbolic manner.

The “Beauty and the Beast” fairy tale, in an abstract sense, can be traced back thousands of years to stories that existed before print culture. Stories of humans falling in love with animals can be found in the folklore of any number of cultures. These tales allow cultures to reflect on topics such as gender roles, courtship rituals, and morality. Animal tales create a symbolic story that abstracts the questions surrounding what it means to form a romantic partnership.

While folk tales such as “The Snake with Five Heads” from Africa and “The Fairy Serpent” from China speak to the universality of this motif, the specific inspiration for “La Belle et la Bête” likely stems from a few particular stories from the Western tradition.

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Beauty and the Beast Production Handbook

“Cupid and Psyche” One of the earliest written antecedents of the “Beauty and the Beast” story is the tale of “Cupid and Psyche” from Metamorphoses, written in the second century A.D.

by Lucius Apuleius Madaurensis. In the tale, Psyche is a princess so beautiful that men worship her. This enrages Venus, the goddess of beauty. Venus sends her son, Cupid, to make Psyche fall in love with a hideous monster.

Instead, Cupid falls in love with her himself. Transported to a majestic palace, Psyche spends her days alone and her evenings with Cupid, whom she never sees because of the darkness. Psyche convinces Cupid to let her sisters visit her, even though he warns her it will end in tragedy. They jealously plant the idea that Cupid is a hideous monster, and Psyche resolves to look at him. Startled by Cupid’s beauty, Psyche spills oil from her lamp on him, and Cupid flees to Venus to heal his wounds.

“East of the Sun, West of the Moon” “East of the Sun, West of the Moon” is a Norwegian fairy tale collected by Peter Christen Asbjørnsen and Jørgen Moe that shares similar characteristics with the story of “Cupid and Psyche.” In this story, a white bear asks a peasant permission to marry his youngest and prettiest daughter. Although the daughter is reluctant, she is eventually persuaded and goes to live with the bear in a castle. At night, the bear sheds his animal form and appears to her as a man, but she is unable to see him in the dark. She grows curious and lights a candle, seeing a beautiful prince, but she spills hot wax on him. The prince reveals that he has been cursed by his wicked stepmother; because the daughter could not wait a full year to look at his human form, he is cursed to leave her and marry his stepmother’s hideous daughter, who is a troll princess.

Psyche drips oil on Cupid.

Painting by Jacopo Zucchi (1589)

"The Pig King" A third inspiration is “The Pig King,” an Italian fairy tale published in the 16th century by Giovanni Francesco Straparola. In this story, a queen who wants to have a child is found by three fairies. While two fairies bestow her son with positive qualities, the third curses him that he will be a pig until he marries three times. His first two wives are cruel to him, and he, in return, tramples them with his hooves. The third wife, however, shows him kindness and the pig reveals himself as a handsome young man.

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The prince sheds his bear form to embrace the daughter.

Illustration by Kay Nielsen from "East of the Sun and West of the Moon" (1914)

Beauty and the Beast Production Handbook

These stories, and countless others, serve as the inspiration for the modern story of “Beauty and the Beast.” Each is a variation of a common story – a beautiful woman falling in love with a man whose physical beauty is disguised – and each is a reflection of the society from which it is derived. They provide an outlet for people to explore topics such as arranged marriage and love, and reflect gender roles (and stereotypes), repression, and morality.

Villeneuve's "La Belle et la Bete" In 1740, Madame Gabrielle-Suzanne Barbot de Villeneuve wrote a version of “Beauty and the Beast” as one of the tales in her book, La Jeune Américaine, et les Contes Marins (The Young American and Tales of the Sea). The tale was meant not as a means to entertain children or as an examination of society, but for the purposes of entertaining her salon friends. The French salon culture – in which aristocratic women, who were barred from receiving a formal education, would gather in salons to discuss topics of relevance to their lives – bred a robust storytelling culture. As a parlor game, women would recast old stories into clever new tales incorporating verbal agility and commentary on aristocratic life.

Villeneuve’s novel-length tale, while inspired by stories such as “Cupid and Psyche,” is uniquely her own. It includes in-depth backstories of both Beauty and the Beast which do not appear in later adaptations of the story. The Beast, a young, fatherless prince, is left in the care of an evil fairy who tries to seduce him when he has reached adulthood.

When he rejects her, she turns him into a beast. Beauty’s backstory reveals that she is the offspring of a king and a good fairy, and that the same evil fairy that tried to seduce the Beast also tried to murder Beauty so that she may have the King to herself. The King gives Beauty to a merchant in hopes of concealing her identity and saving her life.

The Beast and Beauty sit down to dinner.

Illustration by Anne Anderson from Old, Old Fairy Tales (c. 1920)

While subsequent adaptations of “Beauty and the Beast” generally do not incorporate these backstories, they do more closely resemble the meat of her tale – although Villeneuve’s version includes elaborate magic and a significant number of supporting characters. In her tale, the merchant finds himself in the Beast’s palace and plucks a rose to bring to Beauty. The Beast tries to kill the merchant for stealing his possession and forsaking his hospitality, but agrees to let the merchant leave if one of his daughters (without deception and with full knowledge of her predicament) agrees to take his place. Beauty is brought to the castle and treated to a lavish lifestyle. Every night, the Beast invites Beauty to be with him but she refuses; and nightly she dreams about a handsome man whom she falls in love with.

Eventually, the Beast allows Beauty to return to her family for two months, and when she returns to the palace, she finds the Beast dying. She realizes that he is the man from her dreams that she was falling in love with, and they wed.

Beaumont's "La Belle et la Bete" In 1756, the French aristocrat, Madame Jeanne-Marie Leprince de Beaumont, emigrated to England, becoming a tutor and an author. She shortened Villeneuve’s version, omitting the lengthy backstories of both Beauty and the Beast.

Similar to the Disney version, Beaumont’s tale includes a simple and short explanation for how the Beast became Dramaturgy

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cursed: An enchantress places a spell on him after he refuses to let her in from a storm. This shortened version was published in 1756 in France as part of Magasin des Enfants (Children’s Collection) and was subsequently translated into English, appearing in 1757 in The Young Misses Magazine.

The Beaumont version, recast as a morality tale geared toward children, emphasizes elements ranging from the nobility of Beauty’s act of self-sacrifice, to the significance of valuing character, to the importance of table manners (like the folkloric antecedents, Beaumont's version is a reflection of its time). This iteration achieved wide circulation and is cited commonly as the basis of most subsequent adaptations of the story.

Beauty joins the Beast for tea.

Illustration by Walter Crane from Beauty and the Beast (1874)

Disney's Beauty and the Beast While Disney’s Beauty and the Beast is based on Beaumont’s tale and does share many similarities with it, there are also some key differences. The enchanted castle staff, Gaston, and Lefou are wholly new creations, as are many other elements, such as the rose’s falling petals. In Beaumont's version, Belle has stepsisters who serve as foils she can be compared to, while in Disney’s, the villagers act as those foils. And significantly, the characterization of both Belle and the Beast evolves between the versions. Beaumont’s Beast is kind and generous, whereas Disney’s is inhospitable and unrefined. Finally, Beaumont’s Belle, while kindhearted and well-read, is unable to see beyond appearances. These differences continue the tradition of transforming fairy tales over time, with certain elements retained, others cast away, and some reworked to better fit the story’s context within a place and time.

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Beauty and the Beast Production Handbook

ADAPTATIONS OF "LA BELLE ET LA BETE" Following the Beaumont version of the story, further adaptations abounded in many media, including literature, theater, opera, ballet, film, and television. Below is a sampling. Notably, the French filmmaker Jean Cocteau adapted Beaumont’s version of the story into a 1946 film, also called La Belle et la Bête. The film became a classic of French cinema and, along with Beaumont’s story, serves as the basis of the 1991 Disney animated Beauty and the Beast and its 1994 stage adaptation.

Literature •

The Scarlet Flower (1858) – a Russian fairy tale by Sergei Aksakov

•

Lord of Scoundrels (1995) – a romance retelling set during the early 19th century by Loretta Chase

•

Beauty and the Beast (1874) – a children’s book written and illustrated by Walter Crane

•

The Fire Rose (1995) – a fantasy novel by Mercedes Lackey

•

Beauty and the Beast... The Story Retold (1886) – an American children’s book by Laura E. Richards

•

Rose Daughter (1997) – a fantasy novel by Robin McKinley

•

Beauty: A Retelling of the Story of Beauty and the Beast (1978) – an American children’s book by Robin McKinley

•

The Quantum Rose (1999) – a science fiction retelling by Catherine Asaro

•

Beastly (2007) – a young adult novel by Alex Flinn that sets the story in modern-day Manhattan

•

Fashion Beast (2012) – a graphic novel by Alan Moore, Malcolm McLaren, and Antony Johnston based on a 1985 screenplay by Moore

•

A Court of Thorns and Roses (2015) – a young adult novel by Sarah J. Maas

•

“The Courtship of Mr. Lyon” (1979) – a short story from Angela Carter’s collection, The Bloody Chamber

•

Beauty (1983) – a science fiction novella by Tanith Lee

•

“A Grain of Truth” (1993) – a short story from Andrzej Sapkowski's collection, The Last Wish

Film •

La Belle et la Bête (1899) – a French silent film

•

•

La Belle et la Bête (1946) – a feature film directed by Jean Cocteau

Beauty and the Beast (1992) – a short animated film directed by Masakazu Higuchi and Chinami Namba

•

The Scarlet Flower (1952) – an animated short film directed by Lev Atamanov

Beastly (2011) – a modern-day version set in New York City, directed by Daniel Barnz

•

Beauty and the Beast (1962) – a feature film directed by Edward L. Cahn

Beauty and the Beast (2014) – a French-German film directed by Christophe Gans

•

Little Miss Perfect (2016) – a live-action film inspired by the fairy tale in which the protagonist is both Belle and the “beast”

•

Beauty and the Beast (2017) – a Disney live-action adaptation of the 1991 animated film directed by Bill Condon

• • •

Panna a netvor (1978) – Czech film directed by Juraj Herz

•

Beauty and the Beast (1987) – a musical live-action film directed by Eugene Marner

•

Beauty and the Beast (1991) – an animated Disney feature film

Dramaturgy

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Beauty and the Beast Production Handbook

Theater, Opera, and Dance •

Zémire et Azor (1771) – a French opera by André Grétry, with text by Jean-François Marmontel

•

La Belle et la Bête (1994) – an opera by Philip Glass based on Cocteau's film; Glass's composition follows the film scene by scene, effectively providing a new original soundtrack for the movie

•

•

Beauty and the Beast (1996) – a play by Laurence Boswell that premiered at the Young Vic in London and was subsequently revised for a 2003 production at the Royal Shakespeare Company

•

Beauty & the Beast (2011) – a ballet choreographed

by David Nixon for Northern Ballet, set to a compilation of music by Saint-Saëns, Bizet, Debussy, Poulenc, and Glazunov

•

“Beauty and the Beast” (1995) – an episode of the animated Happily Ever After: Fairy Tales for Every Child starring the voices of Gregory Hines as the Beast and Vanessa Williams as Beauty

•

Beauty & the Beast (2012) – a television series in which an ex-soldier is turned into a mechanically charged beast

Beauty and the Beast (1994) – a musical adaptation of the Disney film with book by Linda Woolverton, music by Alan Menken, and lyrics by Howard Ashman and Tim Rice

Television •

Beauty and the Beast (1976) – a made-fortelevision movie starring George C. Scott as the Beast and directed by Fielder Cook

•

“Beauty and the Beast” (1984) – an episode of Shelley Duvall's Faerie Tale Theatre starring Susan Sarandon as Beauty

•

Beauty and the Beast (1987) – a television series set in modern-day New York City

Dramaturgy

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Beauty and the Beast Production Handbook

CASTING F

eaturing a wide variety of villagers and enchanted objects, Beauty and the Beast offers flexible casting. With opportunities to showcase strong dancers as well as capable singers, actors of different skill sets can have their chance to shine! The following pages offer descriptions of each character along with recommended audition material and vocal ranges.

CHARACTER BREAKDOWN MONSIEUR D’ARQUE, the scheming proprietor of the local asylum, is a dark and sinister force behind Gaston’s scheme to win Belle. (See p. 70 for additional context.)

PROLOGUE NARRATOR, a voiceover, an offstage voice, or an onstage storyteller delivers the prologue.

LES FILLES DE LA VILLE (3), French for “village girls,” are a group of Gaston’s fanatical female followers who energetically pursue him in the hopes of winning his affections. Though only three filles have lines, they do sing as a group often, so feel free to cast a larger group of women to fawn over Gaston.

YOUNG PRINCE, a spoiled, selfish, and unkind prince, is transformed into the Beast.

OLD BEGGAR WOMAN, a haggard-looking old woman, reveals herself to be a beautiful enchantress.

CRONIES, frequenters at the tavern, are Gaston’s drinking companions. Loud and rowdy, they love a good laugh, even at the expense of innocent and eccentric villagers, like Maurice.

THE TOWN BELLE, an intelligent and insightful young woman, longs for a life of adventure and belonging. Willing to sacrifice herself to save her father, she exhibits heroic altruism and selfless love. While kind-hearted and gentle, Belle proves her strength when she stands up to the brutish Gaston. Belle should have a strong mezzo voice and discernible chemistry with the actor playing the Beast.

Other VILLAGERS create the hustle and bustle of daily life in the small provincial town. They include: the Shepherd, Marie, Tavern Master, Laundry Lady, Baker, Milkmaid, Flower Seller, Sausage Curl Lady, Candlemaker, Hat Seller, and Bookseller.

MAURICE, an inventor, is Belle’s loving and supportive father. A bit of an eccentric who often gets lost in his own world while tinkering on his contraptions, the villagers incorrectly label him a “crazy old man.”

THE CASTLE The BEAST, a spoiled prince turned into a terrifying beast, struggles to maintain his humanity as the Enchantress’s spell grows stronger. His hot temper can frighten and push people away, but a loving heart is buried beneath his gruff exterior. The actor who plays the Beast needs to evince a strong physicality to convey intense emotion and animal behavior; he must also be able to sell his agony of loss, so look for an actor who can sing “If I Can’t Love Her” with strength and commitment.

Depending on your directorial concept (see the staging chapter of this handbook for tips), this actor can play the Young Prince in the prologue and the Prince in the finale as well.

GASTON, the village celebrity, is in love with one person: himself. The epitome of toxic masculinity, Gaston earnestly and unabashedly harasses Belle, whom he values only for her beauty. Charming and manipulative, Gaston is the village’s de facto leader whose lack of understanding and compassion ultimately leads to his own downfall. Gaston is a high baritone with a large vocal range.

LEFOU, Gaston’s bumbling sidekick, is always there to boost his pal’s spirits. Lefou loyally and energetically serves Gaston, but lacking in good judgement, rarely thinks things through. Lefou should have good physical comedy skills.

Casting

COGSWORTH, a tightly-wound and enchanted mantle clock, serves as the head of the Beast’s household. Never

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Beauty and the Beast Production Handbook

one to disobey the Beast, he spends most of his time trying to talk Lumiere out of whatever convoluted plan he’s devising. Despite his tendency to appear uptight and strict, Cogsworth proves hardworking and loyal.

CHIP, Mrs. Potts’s darling child, is a playful and brighteyed enchanted teacup. Chip’s innocence and cheer make sipping tea a delightful experience, winning over even the grumpiest of hearts.

LUMIERE, a suave and debonair enchanted candelabra, finds the light even in the darkest of places. He loyally serves the Beast and counters his gloomy disposition with an optimistic flare. Though he leads “Be Our Guest,” Lumiere can speak-sing through much of it, so cast a strong actor who can first and foremost pull off his flirtatious and funny nature.

MADAME DE LA GRANDE BOUCHE, a former opera diva turned enchanted wardrobe, is a larger-than-life personality who helps lift Belle’s spirits when she first arrives at the castle. Without her elaborate and theatrical costuming, Madame finds life difficult, but always manages to retain an air of elegance and refinement.

WOLVES, violent and frightening creatures of the forest, are known to attack innocent wanderers.

BABETTE, an enchanted feather duster, is fun-loving and flirtatious. Bold and brazen, Babette is the embodiment of the vain and enticing French maid.

Other enchanted CASTLE STAFF, including the gargoyle, flatware, napkins, etc., serve the Beast by cooking, cleaning, and carrying out his orders.

MRS. POTTS, a warm-hearted enchanted teapot, is the comforting caretaker among the castle staff. A wise and patient maternal figure, she is quick to offer a spot of tea and a dash of advice to anyone in need. Mrs. Potts is an alto who sings the title song.

ACCENTS & DIALECTS Although Beauty and the Beast takes place in France, the only characters who should use a French accent are Lumiere and Babette, who often intermingle French words with their English. Other characters such as Cogsworth, Mrs. Potts, and Madame De La Grande Bouche should speak with British accents. For example, Cogsworth’s strict adherence to the rules and extreme punctuality are suggestive of a Received Pronunciation (RP) accent. Similarly, Mrs. Potts's appreciation for a good spot of tea and Madame’s history at the U.K.’s Royal Opera House imply their English roots. Beyond these characters, no accents are necessary. The rest of the cast should feel free to use their natural accents.

The easiest way to learn an accent is to listen to it over and over again. YouTube clips are excellent resources to get started. Additionally, a dialect coach can be used during rehearsals. If that is not possible, check out the online options listed in the Resources section of this handbook on p. 68.

Casting

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Beauty and the Beast Production Handbook

CASTING & AUDITION CHARTS The following charts are quick reference guides to use while casting your production. For those roles marked as “gender flexible,” the costuming of the character should reflect the gender identity of the performer.

PRINCIPAL CHARACTERS Character

Female

Male

Gender Flexible

Vocal Range

Belle

Belle

P

Beast

Beast

P

Cogsworth

P P

Gaston Lefou*

P

Lumiere

P

Maurice

P

Mrs. Potts

Cogsworth

Gaston

LeFou

Lumiere

Maurice

Mrs. Potts

&

œ

œ

œ

V &œ

œ

V Vœ

œ

V Vœ

œ

V Vœ

œ

V Vœ

V V bœ

œ

&

V #œ

P

œ

Suggested Vocal Audition

Suggested Acting Audition

“Home” “A Change in Me”

pp. 10-13, 3134, 48-50

“How Long Must This Go On?” “If I Can’t Love Her”

pp. 31-34, 4850

“Human Again”

pp. 15-17, 2730

“Me” “Gaston”

pp. 6, 9-10

“Gaston”

pp. 6, 25-26

“Be Our Guest”

pp. 15-17, 2730

“Maurice Travels”

pp. 11-12

“Beauty and the Beast”

pp. 36-37

&

*Though originally written as a male character, many women have been cast as Lefou, as no gendered references appear in the dialogue.

FEATURED CHARACTERS Character

Female

Male

Gender Flexible

Vocal Range

Babette

Babette

P P

Chip Madame de la Grande Bouche Monsieur D’Arque

Casting

Chip

P P

Wardrobe

œ

&œ

œ

&œ &

& #œ &

&

N/A

17

œ

Suggested Audition (Songs / Libretto Page #s)

pp.17-18 pp. 29 “Human Again,” pp. 36-37 pp. 84-85

Beauty and the Beast Production Handbook

CAMEO CHARACTERS Character

Female

Male

Gender Flexible

Singing Solo

P

Baker

Speaking Solo

P

Bookseller

P

P

P

Candlemaker

P

P

Crony 1

P

P

Crony 2

P

P

La Fille de la Ville 1

P

P

La Fille de la Ville 2

P

P

La Fille de la Ville 3

P

P

Flower Seller

P

Gargoyle

P

Hat Seller

P

P P

Laundry Lady

P

P

Marie

P

P

Milkmaid

P

P P

Narrator Old Beggar Woman/Enchantress

P

Sausage Curl Lady

P

P P

Shepherd

P

P

Tavern Master

P

P

Young Prince

Casting

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Beauty and the Beast Production Handbook

DESIGN T

hough Beauty and the Beast is inspired by an 18th-century French fairy tale and boasts a large cast of characters ranging from villagers to enchanted objects, there are lots of ways to streamline your design for ease of staging and to keep your production costs down. Whether told through elaborate and detailed visuals such as projections and lush costumes or conceptually with puppets or a story theater aesthetic, this classic musical benefits from design that allows for fluidity and flexibility of both movement and space.

SETS Beauty and the Beast takes place across various locations in rural France, from a provincial village to an enchanted castle. While there are many ways to approach the scenic design of this show, be sure that all set pieces are selected or designed to move quickly and smoothly into position. This is especially helpful for quick transitions between the village and the castle. (For tips on how to create thoughtful and seamless transitions, refer to the Staging chapter of this handbook on p. 46.) Additionally, it is especially important that the set and costume designers collaborate to ensure that their respective designs work well together. For example, make sure that the costumed actors playing Madame de la Grande Bouche and the other enchanted objects can move comfortably throughout the castle – whether through doorways, up staircases, or across potentially restrictive areas.

LAYERING LOCATIONS Though design inspiration for this period fairy tale might lean toward lavish spectacle, Beauty and the Beast can be designed with a simpler approach. Because the castle is the centerpiece of the musical, think about how to utilize this location as a base set that is stationed permanently upstage. There’s no need to build a detailed castle; instead, consider designing a structure that includes various levels and areas to represent the dungeon, Belle’s bedroom, the west wing, and so on. Then, transform the space in front of this unit into all other locations: A drop mid-stage can create the forest, painted flats nestled together can suggest a village and Belle’s cottage, etc. With the right props, smaller set pieces can ably tell this tale as old as time. Regardless of your design concept, be sure to allow enough open space downstage of your set to accommodate your ensemble and any choreography.

Design

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Beauty and the Beast Production Handbook

Prologue For the opening narration, simply block your actors on a neutral stage or in front of your castle set. Another approach is to stage the action in front of the curtain, which can open to reveal the village in the first scene.

Alternatively, for a higher concept opening, consider using shadow puppets or projections to show the key plot points of this sequence, including the transformation. This approach also allows for the Beast to have a grand reveal later in the show– no quick costume change or actor double required! For more tips on staging this moment, refer to p. 47 of this handbook.

Belle and the Beast dance in front of the unit set.

Ignite Theatre Company; St. Louis, MO

Village Create the look of a village in the French countryside with a simple backdrop. To take your design to the next level, consider rolling in painted flats of shops and houses. Depending on your design concept, these can be basic outlines of buildings, detailed storefronts, or structures that feature the look of a pop-up storybook.

For a nice touch, consider adding a fountain or well to further distinguish the town. Whatever your approach, just be sure there is room for the full bustling ensemble in the opening number.

Bookshop Belle reads as the villagers look on.

South Bay Conservatory; Rolling Hills Estates, CA

A painted flat can open up to reveal shelves of books; alternatively, the bookseller can utilize a rolling bookshop or cart.

Belle's Cottage Easily represent Belle’s home with a simple flat that can be rolled in front of your village backdrop.

Ideally, this flat will have a working door that Belle can enter and exit through, but if that’s not possible, place a façade of the cottage near a wing that can act as her entrance and exit into and out of the house.

Whatever your approach to the cottage, be sure to place it far downstage to allow for transitions to occur upstage.

Gaston tries to win Belle over in front of her cottage.

University of Northern Colorado; Greeley, CO

Design

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Beauty and the Beast Production Handbook

Forest No set pieces required here! To set these scenes, simply fly in a forest backdrop or perform the wolf chases in front of your stage curtain, which can open to reveal the castle. If utilizing shadow puppets for the prologue, consider using puppets in these scenes as well to help create the wolf chases. Other ideas: Trees can double as screens for shadow puppets (tree-shaped frames can be covered with translucent fabric); a lightly backlit scrim placed in front of the action can create the look of a creepy forest; and elements like fog can increase the eerie atmosphere while supporting any additional lighting effects.

Maurice gets lost in the forest.

University of Northern Colorado; Greeley, CO

Castle Employing a single castle unit will help simplify the staging and transitions into the Beast’s home enormously. Place the unit upstage to ensure that there is room to roll on or drop in any additional set pieces or backdrops and to stage any ensemble moments.

When constructing your unit, keep in mind that when Maurice first enters the castle, it appears hollow, lifeless, and empty, so stick to the essentials, and be wary of too much furniture or rich decor. Should you wish to add some authentic flourishes to the structure, research rococo, or late baroque, architecture which features intricate ornamentation and an abundance of scrolls and curves. Regardless of your decorative approach, be sure to designate specific areas of the unit (or space downstage of it) for each of the following:

Belle encounters the Beast in the main hall.

French Woods; Hancock, NY

CASTLE DOOR

A door is called for twice in the show – for Maurice’s entrance into the castle in the first act, and for Gaston and the mob’s in the second act – and can be built into your castle unit or brought on as a separate piece for those specific moments. Alternatively, with clever staging, a physical door isn’t needed at all! Maurice can call out his first lines from offstage, while utilizing a traveling convention (see p. 48 of the Staging chapter of this handbook for tips) during “The Mob Song” can eliminate the need for a door in that scene.

MAIN HALL

The foyer of the castle can be played downstage of your unit. While a fireplace is mentioned, the only essential piece for this area is the Beast’s chair.

Remember, furniture is scarce in this empty castle, so keep pieces to a minimum – this also will help keep your transitions quick and smooth!

Design

Belle finds her father in the dungeon.

South Bay Conservatory; Rolling Hills Estates, CA

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Beauty and the Beast Production Handbook

DUNGEON

Build this tiny cell as part of the unit set at stage level.

This dark, cramped chamber can be represented by a barred door that can be hidden behind the Beast’s chair or another small set piece when the cell is not being utilized.

BELLE’S BEDROOM

A bed is all that is needed to signify Belle’s private chambers. This can be part of the unit castle set – perhaps one of the platforms on an upper level – or it can be played just downstage of it. If the former, be sure that the space is large enough to accommodate simultaneously any desired furniture, as well as Belle, Mrs. Potts, and Madame de la Grande Bouche.

The Beast shows Belle her bedroom.

South Bay Conservatory; Rolling Hills Estates, CA

WEST WING Place the Beast’s lair in one of the upper corners of your unit set – the forbidden west wing should feel slightly apart from the rest of the castle. Keep any set dressings to a minimum here, as the focus should be on the rose, which, depending on your concept, can be showcased throughout the show on a base or pedestal, perhaps protected by a glass case. (For prop tips, see p. 24 of this handbook.) Remember, this castle turret requires space to accommodate multiple people and fight choreography between Gaston and the Beast – as well as Gaston’s fall to his death. The director and designer should work in tandem to determine the best way for the design to support the directorial vision. One idea might be to hang a curtain in the entrance of the west wing, which Gaston can easily “fall” back through onto a crashmat. For more ideas on how to stage this moment, refer to p. 52 of the Staging chapter of this handbook.

The Beast sings “If I Can’t Love Her” in the west wing.

South Bay Conservatory; Rolling Hills Estates, CA

DINING ROOM For “Be Our Guest,” fly in a festive backdrop, ornate chandelier, or gold tinsel curtain in front of your unit set, or simply stage the number downstage of the unit. For a special touch on the latter, line the unit with lights that turn on especially for this number.

Alternatively, this number can venture outside the realm of the realistic. It’s a fantastical moment involving a chorus line of flatware, so anything goes – have fun with it!

For “Something There,” bring in a small table and chairs at which Belle and the Beast can sup. Or, cleverly economize by doubling Mrs. Potts’s teacart as the table.

(For tips on the teacart, see p. 34 of this handbook.)

The Beast and Belle enjoy some soup in the dining room.

Champaign-Urbana Community Theatre; Champaign, IL

Design

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Beauty and the Beast Production Handbook

LIBRARY To create the library of Belle’s dreams, bring on a flat painted with shelves of books; flip or rotate a piece of the castle set to reveal shelves that have been on your unit set all along; or add a small hanging book backdrop to one area of the castle.

Tavern Your ensemble can aid this transition by bringing on some wooden tables and benches to set the scene for this watering hole. A high-top table can work nicely as a bar or, for some more character, place a long piece of wood over two wooden barrels. Set pieces that are properly reinforced and able to support weight can create levels for dancers in “Gaston.” Consider giving a wink to Gaston’s personal style – “I use antlers in all of my decorating!” – by dropping in a “chandelier” of antlers, or dress a throne-like chair with fake fur, antlers, and claws fit for the town’s brawny braggart. A few fun pieces will set this scene, so keep it fairly simple and allow lots of room for this large dance number.

The Beast enjoys a book in the library.

South Bay Conservatory; Rolling Hills Estates, CA

PROPS Beauty and the Beast is a fairy tale, and as such, props do not need to be strictly realistic in style. That said, it is useful to keep in mind the balance between function and flair; while a few props, such as the enchanted rose or Maurice’s invention, are great opportunities to experiment with design, others will serve the story best by remaining functional and not drawing focus from the storytelling. Below are lists of props that are essential and optional along with the page number(s) on which they appear in the script to help guide you in your design.

Lefou reassures Gaston in the tavern.

University of Northern Colorado; Greeley, CO

Essential Props MAGIC MIRROR (pp. 1, 51, etc.)

The Beast’s magic mirror should be a hand mirror that is small enough to be portable (Belle needs to be able to tuck it away into her sack) but large enough to be seen clearly by all audience members. There’s no need for the mirror to contain any actual reflective glass, which might reflect the stage lights in undesirable ways and can also pose a hazard if it were to break.

Have fun designing the mirror, adding elements such Design

Belle sees Maurice in the magic mirror.

Barbara Ingram School for the Arts; Hagerstown, MD

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Beauty and the Beast Production Handbook

as LED lights (to illuminate the viewer’s face) or fanciful ornamentation if it suits your production – it is magical, after all!

ENCHANTED ROSE (pp. 1, 51, etc.)

Carefully consider the options available to your production for how best to create the enchanted rose.

For many productions, the appropriate solution might be to rent a rose that is able to perform the illusion of the petals falling. If someone on your production team is particularly industrious, a rose with those capabilities can also be built (some instructional videos are available online). Another option is to create multiple roses that have different amounts of petals and swap them out between scenes. Or, if appropriate to your production, even more creative and stylized methods can be employed to portray the rose, such as a projection or a performer who stylistically removes petals from a flower crown. There are many solutions for this challenging yet essential prop.

The Beast gazes at the enchanted rose.

Barbara Ingram School for the Arts; Hagerstown, MD

BOOKS (pp. 4-5, 9 etc.)

A book for the Bookseller to lend to Belle, as well as a copy of King Arthur for the Beast’s library (refer to p. 23 of this handbook for more information on creating the books lining the shelves of these two environments). Many modern hardcover books can look period-appropriate simply by removing the dust jacket.

GUNNYSACK (p. 5) This burlap sack should be large enough for Lefou to stash Gaston’s prey inside it.

The rose sheds its final petal.

French Woods; Hancock, NY

DEAD DUCK (p. 5) If your theater does not have a mechanism to drop the duck from above the proscenium, a comedic alternative might be for a crew member to throw it onstage from the wings. Regardless, the duck should be made of a soft material such as rubber or stuffed fabric for the safety of your performers.

RIFLE (p. 5) You can stage Gaston’s entrance successfully without a prop gun. In educational settings, not using a gun is recommended. Never use real firearms onstage. If you purchase or rent a theatrical prop rifle for Gaston’s use, establish a clear protocol regarding storage and handling of the rifle. It should never be removed from the theater and should be stored in a locked box or cabinet. A member of the crew should be responsible for its storage and whereabouts at all times, handing the rifle to the actor just before their entrance and reclaiming it as soon as they leave the stage.

Design

Gaston attempts to read Belle’s book while Lefou holds his rifle and gunnysack.

French Woods; Hancock, NY

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Beauty and the Beast Production Handbook

MAURICE'S INVENTION (pp. 10-13) Have fun designing Maurice’s invention! This is an opportunity for a creative prop that can be entirely unique to your production. One design option is to take a cue from the animated movie and build a cart with a complicated machine on top that culminates in an ax chopping wood; but the sky is the limit in terms of what this invention could be. Just ensure that it is durable enough to dependably break and then work again during each performance.

WORK HELMET & GOGGLES (p. 12) Maurice’s accessories are a great opportunity to embrace comedy in props design. They shouldn’t be distracting, but they can certainly be silly enough to garner a laugh from the audience!

Lefou presents Gaston with a dead duck.

West Ashley High School; Charleston, SC

SCARF (pp. 13-14, 25) Consider using two identical scarves so that Maurice and Lefou do not need to hand off the scarf backstage.

BLANKET (pp. 18-19) BLOOMERS & GOWN (p. 37) Ensure that the costume designer is keeping in mind that Madame de la Grande Bouche’s costume should be able to store these clothing items. (Refer to p. 34 of this handbook for more information.)

DRINKING CUPS (pp. 39-44) Populate the tavern with plenty of cups for the villagers to drink out of. Consider using cups that resemble pewter, wood beer steins, or tankards. If you are using the cups in your choreography, ensure that they are sturdy enough to withstand the demands of performances (consider using a separate set for rehearsals) and that they will produce an authentic "clinking" sound.

Maurice rides around on his invention.

Barbara Ingram School for the Arts; Hagerstown, MD

TRAY OF FOOD (p. 59) A simple way to avoid creating a full tray of prop food is to employ a cloche (a silver dome used in restaurants atop a plate of hot food).

BRANCH (p. 64) BOWL & CLOTH (p. 65) This bowl can double as the soup bowl during “Something There.”

DINNERWARE (pp. 66, 78) SACK (p. 86) Villagers dance with cups in the tavern.

French Woods; Hancock, NY

Design

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Beauty and the Beast Production Handbook

KNIFE (pp. 91-92) To ensure your performers’ safety, purchase a rubber or retractable stage knife for Gaston. For more guidance on the fight scene, see Stage Combat Tips on p. 50.

Optional Props TRAYS, PASTRIES, BAGUETTES, FLOWERS, ETC. (pp. 2-8) Populate the village with as many props as you see fit during “Belle.” The lyrics illustrate what some of these props could be (e.g., “There goes the baker with his tray like always”) but you can also use your imagination to determine what else could be onstage during this scene. Props are a great way to help each ensemble member tell the story of what their role is in the village, and these village props are a wonderful opportunity to integrate the cast into the design process.

Belle fights off the wolves with a branch.

Barbara Ingram School for the Arts; Hagerstown, MD

TOOLS (p. 11) Depending on how you design Maurice’s invention, consider providing him with the appropriate tools to fix it when it breaks down.

NAPKIN, DINNERWARE, FOOD, ETC. (pp. 54-58) During “Be Our Guest,” feel free to include hand props as necessary to set the scene. Many can be taken straight from the lyrics, such as a napkin to tie ’round Belle’s neck. However, don’t allow the props to overshadow the costumes. This is their moment to shine; they are the objects filling the dining room, after all! For more inspiration, see Costume Design on p. 34.

A fruit vendor pushes her cart.

South Bay Conservatory; Torrance, CA

TORCHES, PITCHFORKS, ETC. (pp. 86-89) Ensure that the weapons employed by the mob are safe for your performers. Consider using pitchforks and weapons designed specifically for the stage without sharp edges and use flameless torches.

Villagers prepare to storm the castle with pitchforks.

University of Northern Colorado; Greeley, CO

Design

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Beauty and the Beast Production Handbook

COSTUMES Depending on your vision for Beauty and the Beast, your costumes can be as simple or elaborate as you desire.

Research clothing customs, as well as tableware and other household items, from late 18th-century France for inspiration for both the villagers and the enchanted objects.

The enchanted objects should maintain a certain degree of freedom of movement, no matter how detailed the design, so be sure to seek input from your cast throughout the design process. Director, choreographer, and designers should work together to ensure that all costuming supports the directorial vision while also keeping in mind any spatial challenges of the set or choreography.

LATE 18TH-CENTURY FASHION Based on Jeanne-Marie Leprince de Beaumount’s 1756 fairy tale, Beauty and the Beast is inspired by the life and fashions of late 18th-century France. After Louis XIV’s death in 1715, fashion evolved into a more frivolous, lighter style as it transitioned from baroque to rococo. The rococo period featured revealing styles in pastels with lots of frilly accessories (ruffles, bows, lace). And, of course, this style was further celebrated and revolutionized at the end of the century by the notorious, fashion-forward queen, Marie Antoinette.

For aristocratic French women, a popular style from 1720 to 1780 was the robes à la française, which featured a funnelshaped bust and wide rectangular skirt that opened in the front to expose a highly decorated underskirt. Hoop petticoats, worn on formal occasions, were also in style until around 1780; at their widest, they could measure nearly five feet across! Between 1780 and 1800, the female silhouette began to change noticeably. The waistline became higher, reaching the bust, and the skirt was reduced in width, with a crescent-shaped pad (known as a “bumroll”) added at the back of the waist to help fill out the back of the dress.

The male silhouette stayed largely the same throughout the course of the 18th century. A typical outfit consisted of knee breeches, a vest or long waistcoat paired with a linen shirt with frills, and low-heeled shoes with pointed toes.

CONCEPTUAL COSTUMING This musical adaptation takes inspiration from the 18th-century France, but its storybook nature also lends itself to less realistic and more fanciful design possibilities. Utilizing puppets in your concept can open up the world of what is possible dramatically by quickly and clearly showing the sequence of plot points in the prologue, creatively staging the wolf attacks, and imaginatively portraying the enchanted objects. Different types of puppetry to explore include: shadow puppets for the Young Prince’s transformation into the Beast, as well as the wolf chases, and rod and/or Bunraku-style puppets for the enchanted objects. While using puppets likely would require additional rehearsal time for the actors, it is just one approach to a more stylized Beauty and the Beast.

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Beauty and the Beast Production Handbook

Prologue NARRATOR If utilizing an onstage narrator or narrators who double as the ensemble, simply dress them in their villager costume(s).

YOUNG PRINCE Dress this selfish young man in regal attire that befits his conspicuous vanity. Knee breeches paired with boots and a long waistcoat and vest work perfectly.

Use rich textures and gold embellishments – perhaps a crown – to complete the royal look.

The Narrator begins the tale.

French Woods; Hancock, NY

OLD BEGGAR WOMAN/ENCHANTRESS Cover the Old Beggar Woman in a dark hooded cloak that can be dropped easily or flown away (simply attach a line to the cloak that can be pulled by an offstage crew member) to reveal the glistening Enchantress. (Refer to the Staging chapter on p. 47 for more details.) She should be in a beautiful, sparkling gown that flows behind her in light layers, whether she flies above the stage or glides across it.

Village BELLE To give a nod to the beloved Disney animated film, dress this independent spirit in her iconic blue village frock – a white blouse paired with a blue bodice (a soft, unboned corset – it’s less restrictive) and ankle-length skirt with petticoats. For an original – and authentic!– touch, add a jacket. Three-quarter-length-sleeved, form-fitting textured jackets that flare out at the back of the waist (over the bumroll), were a common regional style for lower- and middle-class women.

Optionally, cover Belle in a cloak when she runs off toward the forest.

The Young Prince appears.

University of Northern Colorado; Greeley, CO

As a permanent guest in the castle, Belle’s clothing should begin to reflect some of the splendor of the French court in the mid-to-late 1700s. Consider giving her a pink robes à la française (see p. 27 of this handbook for more information) for “Something There,” and a ball gown with a hoop skirt for “Beauty and the Beast.” When costuming her, keep in mind Belle’s strong sense of self – she’s not one to conform to expectations, whether of a woman’s place or style.

Avoid restrictive clothing like corsets and overly wide skirts, and be wary of too many frills and other Design

The Old Woman offers a rose.

University of Northern Colorado; Greeley, CO

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Beauty and the Beast Production Handbook

embellishments; instead, create a silhouette that is light and fluid with little structure so that she feels neither trapped in or inhibited by it. (Organza is a great material to create such lightness and lift.) The actor should feel comfortable and free, and the dress should allow her to glide easily while dancing with the Beast.

GASTON Dress this self-involved villain in the swaggering style befitting his aggressively masculine vanity: a long jacket and vest over a loose-fitting white shirt with a jabot and cuff. Finish it off with breeches and boots.

For a bold, aggressive look and a nod to the animated film, dress him in red and leather with gold button accents. For an authentic 18th-century touch, add a tricorne hat (made famous by Napoleon).

The Enchantress places a spell on the castle.

University of Northern Colorado; Greeley, CO

LEFOU Gaston’s clownish and loyal sidekick should have a softer and less put-together look than his idol, but one of complementary colors; also, it should allow for his many moments of physical comedy. Consider a linen shirt styled with a floppy jabot and an oversized jacket and breeches.

MAURICE Belle’s loving father is also an eccentric inventor, so let his costuming reflect his warmth and whimsy: period knee breaches can be paired with a playfully patterned shirt, vest, socks, and perhaps a neck kerchief. Tools and gadgets can hang from a tool belt, and don’t forget his silly-looking work helmet and goggles!

Belle is engrossed in her book as the Villagers look on.

The Walt Disney Grand Theatre; China

MONSIEUR D’ARQUE Costume this ominous asylum proprietor in somber colors, with a Scrooge-like top hat and long cape and trousers. For added affect, consider giving him a walking stick and dark circles under his eyes and cheekbones to create a gaunt and ghastly look.

VILLAGERS In the opening scene, the villagers should be costumed in cheerful, vibrant colors. Later, when they become a frantic mob in search of the Beast, add muted, dark-colored cloaks and jackets that speak to their sinister intentions.

Most of the female villagers – including Flower Seller, Laundry Lady, Marie, Milkmaid, and Sausage Curl Lady – can dress similarly to Belle in 18th-century style jackets and petticoats with aprons. To top off the look, consider adding a white linen cap; these head Design

Lefou boosts Gaston’s confidence in “Gaston.”

French Woods; Hancock, NY

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Beauty and the Beast Production Handbook

coverings were worn by women of all classes and stations all the time, except for very formal occasions.

Alternatively, some of the women might don bergère (shepherdess) hats made of straw that feature a flat, wide brim. To make the tittering Les Filles de la Ville stand out from the other village women – they should present a complete contrast to Belle – consider costuming them in similarly styled frilly dresses of complementary bright colors.

Most of the male villagers, including the Baker, can dress similarly to (though less whimsically than) Maurice, wearing knee breeches with loose-fitting shirts, perhaps with rolled-up sleeves. Others can dress smartly in vests and long jackets.

Maurice reassures Belle that she’ll find happiness.

University of Northern Colorado; Greeley, CO

The costuming of the gender-flexible villagers – Bookseller, Candlemaker, Cronies, Hat Seller, Shepherd, Tavern Master – should reflect the gender identity of the performers. Be sure to add an accessory or prop that speaks to their profession.

Monsieur D’Arque conspires with Gaston and Lefou.

University of Northern Colorado; Greeley, CO

A NOTE ON WIGS While traditionally Belle has been brunette, and Gaston has long hair pulled back in a low ponytail, the script does not dictate hairstyles for any of the characters, including the Beast. If you have the budget for professional 18th-century-styled wigs and they are a part of your design concept, by all means, go for it! Keep in mind, though, that while wigs for men were popular in the first half of the century, they went out of fashion by the end. For a more budget-friendly approach, simply utilize the natural hair of your actors regardless of color or length.

Utilizing wigs when it is not necessary or a part of a directorial concept can take focus away from the story instead of enhancing it.

Design

The Villagers sell their wares.

University of Northern Colorado; Greeley, CO

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Beauty and the Beast Production Handbook

Forest WOLVES The wolf chases offer a great opportunity to showcase puppets! If utilizing them, consider the puppet design as well as the costuming for your puppeteers: Would they wear black, or perhaps green, to blend into the forest? Alternatively, if actors are portraying the wolves, dress them in shades of tan and brown or gray. These costumes can be as simple as leggings and tunics with wolf masks or ears. Add details of fur – cuffs around the wrists, furry legwarmers – for full, ferocious effect.

Snarling Wolves appear in the forest.

Champaign-Urbana Theatre Company; Champaign, IL

COSTUME RENTALS Beauty and the Beast boasts a large cast of characters and, depending on your concept, can require some intricate costuming. If you're interested in utilizing traditional costumes, but don’t have the time or ability to construct them from scratch, you might consider renting from a reputable costume rental company. Just be sure to do your research and consider all of the following: F

Cost vs. time: Is it both cost and time effective? Will you need to supplement what the rental company provides? Consider your own stock of costumes, as well as what your actors can help contribute.

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Quality of costumes: Is the product offered what you’re looking for? Are the costumes made from highquality materials?

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Number and types of costumes: Does the rental package provide all of the costumes you’ll need? (e.g., For “Be Our Guest,” what types of costumes, and how many, does the company provide? Does this work with your concept/choreography/number of ensemble members?)

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Rehearsal and costume delivery schedules: Alterations will likely be needed for many costumes, and you’ll want to have plenty of time to rehearse in them – many will be larger and/or heavier than your actors will be used to. Can the company deliver on your timeline?

Carefully consider all these factors before deciding whether a rental company is your best option. Remember, Beauty and the Beast can be designed any number of ways, for any sized budget. Get creative and involve your cast, and your costuming is sure to be a success!

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Beauty and the Beast Production Handbook

Castle THE BEAST Though he’s often depicted as a hulking and hairy creature with fangs and intricate makeup design, the Beast’s look can be achieved quite easily. A long mane of wild or curly hair, paired with horns and clawed or hairy hands, are all that’s needed to relay the Prince’s chilling transformation. To take the look further, consider a half-mask – one that allows for full view of the eyes and mouth. Anything more will make singing difficult and will prohibit the actor from expressing the Beast’s humanity through facial expression.

Remember, less is more, and the actor’s physical and vocal choices will help sell the transformation. To help with the final transformation at show’s end consider utilizing a cape as part of the Beast’s (and Young Prince’s) costume. If the transformation occurs in view of the audience, the cape can swirl about the actor to shield the change. Additionally, keep in mind how the “beast” elements of the costuming can fall away or be removed to reveal the Prince at the end. (For tips, refer to p. 53 of the Staging chapter.)

The Beast’s initial costume post-transformation should be identical or very similar to the Young Prince’s (tip: long sleeves and pants mean less skin to cover with hair!), and he should have a more lavish shirt, vest, and jacket for his dance with Belle in “Beauty and the Beast.”

The Beast sings “If I Can’t Love Her.” West Ashley High School; Charleston, SC

ENCHANTED OBJECTS A simple approach to costuming these characters is to add a structural element on top of what will eventually be revealed as their regular uniforms or human clothing (i.e., their base costumes). Consider the job each character has in the castle and build from there; this allows for an easy transformation (i.e., a simple removal of the enchanted costume pieces) in the finale. Also, remember that as time goes by, the castle staff transforms further into objects, so consider how to demonstrate this by adding pieces or details to the actors’ costumes. Alternatively, you can approach these characters in a highly conceptual way, using puppets or minimal elements to signify each object. The following pages offer tips on the traditional approach to costuming the enchanted objects.

Design

Cogsworth and Lumiere show Belle around the castle.

South Bay Conservatory; Torrance, CA

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Beauty and the Beast Production Handbook

COGSWORTH This tightly wound butler is transforming into a mantel clock.

This can be depicted with a structured brown tunic featuring gold detailing and a pendulum over knee breeches that balloon out to resemble the bottom half of a mantel clock.

To further create the allusion to the clock’s shape, top off the look with a bicorne hat. Don’t forget to create an oversized winding handle that can be attached or worn like a backpack to add to this overly fussy domo’s back in Act 1, Scene 7.

LUMIERE The opposite of the endlessly overwrought Cogsworth, this dashing, debonair valet’s transformation into a candelabra should be as light and romantic as he is. Attire him in shiny gold knee breeches, vest, and jacket to allude to a classic candlestick. To reference the candle itself, Lumiere can don a structured hat resembling a candle, and of course he’ll need hands that are sculpted like candles. The latter should have handles inside each for the actor to grip, allowing for better control. These can be created by attaching handles to the base of the candles, wrapping them in a structured material like cardboard or stiff plastic, and then wrapping that base in gold fabric. For the flickering flame effect, utilize cloth torches or battery-operated electronic candles built into the hands. Candle kits can be found online and at many theatrical effects and lighting stores.

BABETTE

Lumiere tries to win back Babette’s affection.

University of Northern Colorado; Greeley, CO

Dress this flirty French maid-turned-feather duster in a black mermaid or trumpet-style dress adorned with an apron that flares out into a (detachable) plumed “fishtail.” Top off her look with a ruffled white cap, and to turn her hands into feathers in Act 1, Scene 7, add feathered wrist cuffs or gloves.

MRS. POTTS To fashion the cozy warmth of the maternal Mrs. Potts, create a spout by cinching off the end of an overlong (so that it covers the hand) bell sleeve or slipping on a jacket with one structured sleeve resembling a spout. To build the latter, fill a wide sleeve with structured, cut foam and batting. You may also want to add some boning or wire to assist in holding its shape (essentially, this creates a mini hoop skirt in the arm).

An even simpler option (no special costuming required!) is for the actor to pose her arms à la “I’m a Little Teapot.” For the body of the teapot, build a hoop skirt with the hoops growing from small (at the waist) to large, and back to small (near the feet); consider using elastic in place of the bottom-most hoop to allow for more mobility. Add a ruffle at the bottom for an extra touch, and complete Mrs. Potts’s matronly look with an apron and frilly white cap.

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Mrs. Potts reassures Chip that he’ll become human again.

University of Northern Colorado; Greeley, CO

Beauty and the Beast Production Handbook

CHIP This bubbly boy resides within the teacart, so create a comfortably sized one. A cabinet on casters with a teacup on top through which he can place his head is ideal – or simply create a teacup head piece for the actor (this will allow for more movement). Use foam to create this cup; if utilizing another material, be sure to line it with foam for the actor’s comfort. If housing the actor in the teacart proves too difficult, create a teacup costume for the actor. Chip can don teacup “overalls” made from a series of hoops made of boning (similar to Mrs. Potts’s hoop skirt).

MADAME DE LA GRANDE BOUCHE A character of operatic proportions, Madame de la Grande Bouche has transformed into a wardrobe that is grand and ornate. This chest of drawers, which should be reminiscent of an 18th-century opera gown (which the actor will need to wear during the finale), can be constructed as a type of foursided sandwich board, hanging from the actor’s shoulders or structured from her waist down. She’ll also need a working drawer from which to pull bloomers and a gown for Belle.

Foamcore is great for creating this costume (another, but more expensive, option is modeling foam): Cut out a space for the drawer and let the actor’s hands, which can be inside the outfit, manipulate the drawer. For a simpler alternative, she can reach pull it open from the front; use a piece of Velcro to ensure that the drawer stays securely closed until it's pulled. In order to support the weight and shape of the costume, she likely will need to don a frame that is strapped to her. The most important thing to keep in mind is the actor’s comfort and mobility; ensure that she can access all areas of the set (whether up a staircase or through doorways) that she needs to traverse.

Madame sings.

Ignite Theatre Company; St. Louis, MO

OTHER ENCHANTED OBJECTS

The Gargoyle that guards Maurice’s cell can don a gray tunic or robe with a mask or headpiece to signify their stone origins.

For “Be Our Guest,” consider dressing the ensemble in base costumes (whether vests and bowties for a festive look or silver to match the flatware, etc.) with added pieces that allude to kitchen and tableware. As with the other enchanted objects, foamcore can help create any of these looks. While the script only calls for Napkins and Flatware, other ideas to consider are plates, measuring spoons, a whisk, a broom with dustpan hands, a cheese grater, salt and pepper shakers, a rug, a vase with flowers, a spatula, etc. These needn’t be complicated or ornate – a clever allusion, no matter how simply designed, is enough to spark your audience’s imagination! Consider inviting your cast to brainstorm ideas and help design their own costumes – get creative and have fun with it!

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The Flatware entertains.

French Woods; Hancock, NY

The Napkins dance.

Ignite Theatre Company; St. Louis, MO

Beauty and the Beast Production Handbook

Lighting Beauty and the Beast follows Belle’s journey from her small village life to one of isolation and eventual belonging in the Beast’s castle – and your lighting design can help track this by creating mood and supporting the emotional tenor of any given scene. Due to the musical’s many locations and rapid transitions, lighting will be a tremendous help in establishing scene changes and passage of time as well.

Much of Beauty and the Beast occurs indoors during a period when candles would be the main source of light, so consider how you can use lighting to distinguish the castle and tavern settings from those that take place outdoors in the village and forest. Think about employing warm and cool washes to indicate the time of day and mood: The lively village scenes might employ bright, warm tones, while those in the castle are cooler and dimmer to reflect its dark interiors as well as its foreboding atmosphere. As the castle comes alive and Belle warms to the staff and Beast, warmer lighting can be integrated to create a mood that is more pleasant and welcoming.

Additionally, consider how specific scenes can benefit from a more varied color palette. For example, a combination of warm colors with a flickering effect can help establish a candle-lit tavern. Lighting and special effects like fog also can help to create (or hide from view) illusions like the Beast’s transformation at the end of the show. However you choose to design these locations, lighting can be a great tool to help your audience follow the story and keep the show moving.

Maurice meets the Beast in the castle.

University of Northern Colorado; Greeley, CO

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Beauty and the Beast Production Handbook

Sound While strong lighting choices will create distinctions between your interior and exterior locations and help with the fluidity of transitions, your sound design will help fill in the details of those locations. Work with your designer to create moments that can support the atmosphere of the castle and provincial France while not competing with the storytelling. Use sound effects (on or offstage foley created by the actors works well!) to enhance scene transitions and to punctuate key dramatic moments. To maintain clarity of storytelling, settle on just a few key moments such as the: •

Thunk (p. 10) of Gaston hitting Lefou’s head;

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Sputtering and puttering (p. 10) of Maurice’s invention;

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Wolf howls (pp. 14, 64) while transitioning to the forest;

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Beast’s roar (p. 19) as it echoes through the castle;

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Gunshot (p. 5) that precedes the duck’s fall ; to create a realistic-sounding gun shot live, affix two wooden planks together with a hinge and slam them closed; the longer the planks, the more robust the sound.

Decide early on if you will use body microphones for your production. Take into account the acoustics of your space, the vocal projection of your actors, and the design of your costumes. Many of your cast might be wearing hats or other headpieces which may affect placement of mics, and your ensemble or key dancers will need to be able to move freely with very secure and well-placed body mics. It is important that audience members are able to properly hear and understand the song lyrics, particularly during the large dance numbers such as “Be Our Guest,” where diction and supportive breath will be a challenge. If you choose to outfit your actors with body mics, do some research before renting. Ensure the rental package you choose can fit into your budget while giving you the quality you need. No one wants audible cracking and popping sounds to spoil the performances of the actors. Also, use an onstage monitor – a standard feature of most sound rental packages – to allow the actors to hear themselves.

Take care when choosing where the orchestra will be in relationship to the stage. Ask the orchestra members to join you for an early rehearsal with your actors to inform your decision. If you decide to use the Performance Accompaniment Recording instead of musicians, try putting the speakers at the back of the stage so the actors can hear the music clearly, or an upstage-facing monitor would also do the trick.

Maurice’s invention putters through the village.

University of Northern Colorado; Greeley, CO

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Beauty and the Beast Production Handbook

MUSIC DIRECTION I

n 1991, New York Times critic Frank Rich raved that the best Broadway score of the year was not to be found onstage, but instead in the Disney animated film, Beauty and the Beast. This outstanding praise for the work of writers Alan Menken and Howard Ashman propelled the successful film into Disney’s first theatrical production.

Drawing inspiration from operettas, Beauty and the Beast has a lush, romantic score with several songs that are likely well-known to the performers in the cast. It is the role of the music director to make sure each musical moment supports the storytelling of the entire production, so encourage the cast’s enthusiasm, but help them delve deeper into what’s on the page by focusing on the meaning of the lyrics and discussing what they illuminate about characters or plot.

Performing with an Orchestra Orchestrated by Danny Troob, the score to Beauty and the Beast can be performed by either a 19-piece or 11-piece orchestra. The 11-piece orchestration utilizes the following instruments: Reed 1 (Flute, Piccolo), Reed 2 (English Horn, Oboe), Reed 3 (Bass Clarinet, Clarinet, Flute), Horn, Trumpet, Piano, Keyboard/Synthesizer, Percussion, Violin, Cello, and Bass. The 19-piece orchestration adds the additional instruments: Horn 2, Horn 3, Trumpet 2, Trombone, Harp, Keyboard 3, Drums, and Violin 2.

The orchestrations are symphonic in feel and very demanding to play. There are some moments of the show that will feel more operatic than musical theater. If you have non-professional performers, allow for plenty of rehearsal time.

You also may want to assign more than one musician on the Reed 3 book to minimize some of the doubling required.

Additionally, while you should bring your own artistic sensibilities to the material, please note that there are specific tempi markings notated throughout the score. These guidelines have proven the most successful in the countless productions that have been performed around the globe.

Once you have the orchestra in place, make sure you’ve set aside time during tech rehearsals to check that everyone can hear one another and see the conductor. Add in any sound equipment and see how the balance (both onstage and in the audience) is affected. Minor adjustments at the start of tech will go a long way toward achieving smooth performances.

Singing with a Track If using the Performance Accompaniment Recording, try to approach the music as if the singer is leading the orchestra rather than following a track. There are several helpful cues in the orchestration pointing to where a singer should enter. Utilize the Reference Recording included with your license (complete with guide vocals) a few times with your cast to get a sense of tempo and tone. Once the pitches and rhythms have been taught, move toward using the Performance Accompaniment Recording so your cast can work on creating their own approach to the characters.

Additionally, be sure to utilize a monitor as it is vital that the actors are able to hear the track clearly so they can stay in time with the music and pick up all of their cues. Lastly, allow for time during tech rehearsals to figure out an acceptable balance so that audiences can hear both the track and live performers, and so that the singers are always able to determine what their next notes should be.

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Beauty and the Beast Production Handbook

Notes on the Beauty and the Beast Score Now on to the specifics of the Beauty and the Beast score! The notes below are broken down by song and then measure numbers.

#2 – PROLOGUE Whatever your production’s approach to staging this prologue – whether with onstage narrator(s) or pre-recorded voiceover (see p. 47 of this handbook for more information) – spend time with both the director and the narrator(s) to work out the exact timing of the dialogue. There are several thematic shifts in the music that help illustrate this narrative sequence, and the lines are placed in the Piano/Conductor Score accordingly.

#3 – BELLE This opening number serves as the introduction to Belle and her life in the village. Play with the contrasts between Belle’s pensive musings and the general cacophony of the town. Encourage the ensemble to make the most of their characterizations and always encourage strong diction.

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m. 35 – This is the first of several small, underscored scenes in the middle of the number. Bring the volume of the orchestra way down so that the dialogue can be heard, but do not slow down the tempo – the same heartbeat should continue throughout. If you are consistently running out of time for the dialogue, there are a few safeties and repeats built in, but first try to pick up the cues and fit the lines in the space allotted.

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m. 127 – Belle’s solo should feel very different than the percussive patter of the villagers, but be careful not to change the tempo. While the section feels out of time, keep conducting in 1, and let the phrases float.

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m. 201 – It’s not often that a villain receives long, extended entrance music. Milk the march tempo for all that you can, and challenge the actor playing Gaston to match its intensity when he starts to sing in m. 217.

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m. 249 – There is a lot going on in this section, and you may want to budget some extra time to make sure everything fits together. Each line should be short, more like an exclamation than a beautiful melody. Work with the performers (and the director) to establish who is talking to whom, and make sure it’s all serving the storytelling. If the storytelling is clearer in an alternate octave, feel free to make the change. Lastly, if you are using individual body mics for each performer, use this section as a pre-show sound check – it will be a workout for the sound operator.

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m. 262 – Drop the dynamics way down for the ensemble so that Belle and Gaston’s lyrics can be heard. If necessary, start with half of the singers, and then add the rest of the group at m. 265.

#4 – MAURICE AND BELLE / NO MATTER WHAT A duet between Belle and Maurice titled “No Matter What” was a part of the original Broadway production, but has since been cut from the show by the writers. The cue “Maurice and Belle” has replaced it, and #4A – “Maurice Travels” will follow. While the song is no longer a standard part of the score, you have the option to add it to your production.

The full cue to “No Matter What” can be found at the back of each score, as well as an alternate version of #4A that segues on applause. Proceed to #5 as written in both scenarios.

#5 – WOLF CHASE #1 As with many of the instrumental cues, consider this as a full event, rather than incidental scene change music. Key storytelling moments have been notated across the score, but it may be useful to talk through these thematic shifts with the rest of the creative team and make sure everyone is on the same page.

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#6 – ME Keep the tempo consistent at 168 BPM (beats per minute). Gaston never back phrases, nor does he listen to Belle’s interjections; he should sound like he is steamrolling ahead.

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m. 83 – Add a tiny break at each ellipsis in the lyrics. With each phrase, Gaston is topping himself, and of course all three phrases are completed in m. 89 with “me!”

#7 – BELLE (REPRISE) •

m. 25-33 – If performing with a live orchestra, treat this section as one big expansion. While there is a bit of a rallentando, don’t let any of the tension release until the downbeat of m. 34. Additionally, since there are no vocals in this section, the orchestra can be as lush and as loud as desired.

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m. 47 – Lefou should cut off Belle’s last note and should not wait to enter. His shouted line (“Belle!”) is also completing the rhyme of “tell” back in m. 40.

#7B – BELLE IN THE DUNGEON This is one of the most cinematic cues in the score. The action travels from Belle’s discovery of Maurice in the dungeon and her monumental decision to stay in the castle, all the way to her bedroom and new reality. If performing with a live orchestra, there are a few vamps built in to make sure everyone stays together. If using the Performance Accompaniment Recording, spend a significant amount of time to ensure the actors are aware of each macro (and micro) transition. They shouldn’t feel like they need to race through key emotional acting moments, but they should always keep the pace moving.

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m. 40C – Allow for the Beast to have a moment before he fully steps into the light. This vamp can crescendo with a slight rallentando before proceeding on to m. 41.

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m. 81 – Hold on the downbeat of m. 81 until the Beast finishes his line, “You will join me for dinner.” The whole notes are a substitute for Belle slamming a door in his face.

#8 – HOME Resist the urge to play the introduction as quiet and contemplative. Belle is furious about what has just happened and desperately trying to make sense of it all. This song is her way of venting her great frustration and creating a plan for survival. When working with the performer playing Belle, it may be useful to rehearse all three solos (“Home,” “A Change in Me,” and “Home (Reprise)" in succession. This will help the actor feel the arc of what each song needs to accomplish, and how they build upon each other musically.

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m. 42 – These intervals are challenging for amateur performers, and the third note will have a tendency to go flat. Check in from time to time to ensure everything is perfectly on pitch.

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m. 73 – This may be the hardest note for Belle to sing in the entire score. It requires a ton of breath support and a purity of tone. You may want performers to sing through this section during auditions or callbacks to assess ability.

#9 – GASTON •

m. 14 – Spend some time rehearsing the timing of the dialogue with the music. It is an unusually long introduction and there is a lot of information to get out. However, the music should stay consistently at the same tempo and not slow down.

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m. 46 – Remind the actor playing Lefou to use clear, crisp diction throughout, so that Howard Ashman’s humor will come across clearly for the audience.

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m. 114 – As noted in the score, “specimen” should rhyme with “yes, I’m in…”

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Beauty and the Beast Production Handbook

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m. 248 – If you need to trim down the amount of dance music, feel free to cut m. 248-275 (play m. 276-299), and then cut m. 300-303 and 310-315.

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m. 318 – If you have a strong tenor section, they can sing the melody at pitch.

#11 – BE OUR GUEST This is the main event and will require a great deal of stamina. Pace the performances accordingly and make sure there is a gradual build to the number.

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m. 12 – While this first chorus is sung easily, make sure it doesn’t drag. The accelerando should begin in m. 14 at the latest.

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m. 29 – The ensemble “Ahs” are meant to be a texture of orchestration and should never overpower the melody. Keep these light and bright.

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m. 95 – To keep things interesting, consider breaking your ensemble into smaller groups and feature each group during a different chorus.

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m. 151 – The ensemble is an homage to the Ziegfeld Follies, and they can sing from onstage or backstage. Feel free to drop the bottom harmony if you need to simplify the parts.

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m. 227 – These pitches are mere suggestions as the sound should be more like crying than singing.

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m 262 – The dance breaks are written in sections so that they can feature a myriad of choreographic styles. If you find that there is more music than your production can successfully support, you may want to cut from the last beat of m. 262 through m. 322.

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m. 401 – In order to land the kickline section and the big finish, try not to slow down too much, or too quickly.

This gradual rallentando should be stretched so that by m. 400 you are in the same tempo as the “heavy 4” of m. 401, and not any sooner.

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m. 405 – Only put one or two voices on the top soprano descant, but if you don’t have any singers who can sing the high C consistently, consider cutting this part altogether.

#12 – IF I CAN’T LOVE HER As with #8 – “Home,” don’t let this introduction feel quiet and resigned. The Beast is distraught and it should be reflected in his sound. It’s unusual to end Act 1 with a solo, so work with your performer to command the stage and the moment.

#15 – SOMETHING THERE As in – “Belle,” several small scenes are woven throughout this song. The dialogue placement in the score will help keep the pace moving, while still giving enough space for each scene. There are also some subtle orchestral cues for the performers to know when to start singing again. Draw their attention to these, such as the scale in m. 27-28 or the harpsichord solo in m. 115-116, so everyone stays together.

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m. 131-132 – As indicated in the score, please cut these measures if the dialogue is getting ahead of the music.

#16 – HUMAN AGAIN •

m. 204 – This is a challenging moment for the ensemble, as they have to make an entrance in a different key after a long-extended section of dialogue. Drill the few measures before until everyone is confident about their first note. Additionally, since the harmonies in the next section are doubled in octaves, simplify as needed for your production.

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m. 245 – Find the right balance so that the melody line (the alto and baritone line) is more populated than the descant (sopranos/tenors). Only a few voices are needed on the top line.

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m. 285 – The top Bb in both staves is optional – feel free to add it if you have singers who can sing it supportively.

#17 – BEAUTY AND THE BEAST Simplicity is key on this title song; the lyrics do all of the heavy lifting. If you are working with amateur instrumentalists, spend a few moments talking through the landscape of the cue – which part has a solo moment, and when it gets passed on to another section. This is particularly key for the oboe, violin, and horn parts. They will each have a moment to shine, and then should fold back into the larger texture.

#18 – IF I CAN’T LOVE HER (REPRISE) •

m. 9 – This section is challenging for performers of any level. Work with the actor playing the Beast to make sure he has tons of breath support and a clear, high tone.

#19 – A CHANGE IN ME Building on the sentiments of “Home,” work with the actor playing Belle to break down the character discoveries she makes throughout the song. Is she holding back in the beginning and becoming more confident throughout? How can dynamics support the storytelling?

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m. 21 – Keep this section solidly at mezzo forte, so that you have somewhere to go later on. And since there are a ton of long, sustained pitches, check in regularly for breath support and pitch.

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m. 57 – If the C is too high to comfortably and consistently belt, encourage your actor to mix.

#20 – THE MOB SONG •

m. 3 – Feel free to reassign solos, or small groups, as best fit the needs of your production. If a particular line is more comfortable in a different octave, make the change.

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m. 16 – If this section is too low for Gaston, instruct him to sing up the octave or speak through part of it. It’s most important that the audience hear the lyrics and that the mood stay menacing.

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m. 42 – Within a few lines, Howard Ashman reminds us how quickly otherwise level-headed individuals can become an irrational mob. Bring the audience along with these outrageous sentiments by ensuring that everyone’s diction is bright and present.

#20A – FIGHT ON THE TOWER Work with the director and sound designer to make sure the volume of the underscoring is loud enough to support the stage combat, but low enough to hear and understand the dialogue. You will likely need to make several adjustments throughout the scene. If you are leading a live orchestra, find the key moments when you can let the instrumentalists play out and when they need to be more contained.

#21 – HOME (REPRISE) As the final moment of Belle’s arc, this reprise needs to resonate, both in tone and lyric, back to the full song. While the acting requires a great deal of emotion, find a balance that still allows the performer to sing full phrases and be understood by the audience.

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m. 29 – Ensure that Belle’s line, “I love you,” lands before the downbeat in m. 30. Otherwise the spell won’t be broken in time!

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#22 – TRANSFORMATION If you are working with amateur instrumentalists, allow plenty of rehearsal time for the violin players. This cue is difficult to sustain, and will be an ongoing challenge to keep in tempo. Break it down into each four-note pattern and rehearse at half speed (or slower). Once the phrase becomes comfortable, add the next figure, and then build to the entire phrase.

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m. 25 – The ensemble’s “Ahs” are intended as a texture in the orchestration, and don’t need to happen onstage.

Feel free to add altos to the tenor part, or drop the entire section down the octave.

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m. 34 – As this is the first time we hear the Beast sing as a human, work with the performer to create a slightly different sound. It will be a subtle change that really helps in storytelling.

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m. 39 – As indicated in the score, divide the vocal parts to match the strengths of this particular ensemble. If necessary, drop a harmony.

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m. 53 – There are several small shifts in theme throughout this underscoring. Work with the director to sculpt each small scene based on these musical moments.

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m. 91 – As indicated in the score, m. 91-94 and m. 103-106 are optional cuts to help keep pace with the dialogue.

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m. 134 – Balance the sound of the ensemble so they never overpower Belle and the Beast.

Music Direction

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REHEARSAL EXERCISES T

he director’s job is not only to helm the vision of the show, but also to assist the actors in developing a bond as an ensemble, introduce them to the world of the play, and guide them to join in the storytelling process. Below are a wide variety of exercises that will help you do just that. Each activity is designed to help actors build their identity as an ensemble, connect to the story of Beauty and the Beast, and assist them in developing rich characters.

The activities in the BUILDING ENSEMBLE section can be facilitated before the show is cast and rehearsals begin; those outlined in the CREATING CHARACTER and CONNECTING TO THE STORY sections are designed to be facilitated during the rehearsal process once the show is cast. By referencing the “use this to” notes, pick and choose from the suggestions below, selecting the activities that best suit your cast’s needs.

Building Ensemble These exercises are designed to unify your cast and build a foundation on which you can work toward cohesive storytelling. Beginning your process with several of these activities will set the tone for your rehearsals and develop a strong ensemble. You can also use them as warm-ups once rehearsals have begun.

GUIDELINES OF HOSPITALITY

Use this to: develop ensemble and teamwork among your cast.

Ask the actors to share what they think is the meaning of “hospitality.” Facilitate this brainstorm until you have developed a common definition of the word. Next, share with the cast that the castle staff in Beauty and the Beast prioritizes creating a welcoming and hospitable environment for Belle. In order to develop this environment in the rehearsal room, collaborate with your cast to build a list of 3-5 “Guidelines for Hospitality.” Examples of these guidelines might be phrases such as “respect everyone” or “communicate openly when others have a question.” Post your established guidelines in a visible place throughout the rehearsal process.

MY MAGICAL TRANSFORMATION

Use this to: develop relationships among your cast and connect to the characters in Beauty and the Beast.

Share with your cast that when the staff in the Beast’s castle transforms into enchanted objects, aspects of their personality influence what object they turn into. For example, Cogsworth is considered “tightly wound” and strict, so he turns into an enchanted clock. Prompt the cast to think about if they were to be transformed into an enchanted object, which object would best reflect their personality and why. Allow each actor to share their answer as a way to get to know one another.

MAURICE’S MACHINE

Use this to: build collaboration and engagement within your ensemble.

Invite actors to stand in a semi-circle facing the stage or open space. Signal actors with a tap or gesture one at a time.

When an actor is signaled, they should walk onto the stage or open space and create a repetitive movement and accompanying sound. They are now a moving piece of one of Maurice’s inventions! Continue to prompt actors to become a “part” of the machine until you have created one large machine with your entire cast. As the machine builds, side coach actors to choose movements and sounds that are easily repeatable and to connect to the previous machine “parts” in some way in order to build upon their castmates’ choices.

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Creating Character The exercises in this section will help actors use their voice, body, and imagination to create defined characters.

MOVING OBJECTS

Use this to: explore how actors can embody enchanted objects.

Invite your actors to move freely about the space, encouraging them to walk as they typically would. After the group has settled, ask them to take note of how they move, how the floor feels beneath their feet, how their bodies move through space, what part or area of their bodies seems to lead them, etc. Ask them to select one inanimate object in the rehearsal room. Once everyone has selected their object, prompt actors to move as if a spell has been cast onto them and they are enchanted objects. Now, they should move as if they are 75% human and 25% enchanted object. Allow time for actors to explore what aspects of their movement would be the first to transform. Next, share that the spell has progressed and the actors are now 50% human and 50% enchanted object. Continue this activity, experimenting with different percentages of human vs. enchanted object. Bring the activity to a close by asking actors to transform into a frozen image that is 100% object.

Apply to rehearsal: by asking actors to complete this activity as their assigned character prior to scene work.

A DAY IN FRANCE

Use this to: further develop characters by imagining their daily routines.

Guide your cast through imagining a day in the life of their characters. Consider facilitating this activity with your entire cast, or in separate activities with the villagers and enchanted castle staff. Begin by inviting everyone to move around the space, settling into a natural gait. Then, invite everyone to find their own space in the room. Ask them to find a space on the floor or furniture as if their characters have not yet woken up for the day. Through prompts and questions, guide them through their day. Actors should physicalize their characters in response to the prompts (e.g., Where do you sleep? How do you wake up? What is the first thing you do? What do you eat? Where do you go? etc.).

Guide your actors until they’ve reached the end of the day.

Apply to rehearsal: by asking actors to refine their movements and apply those movements to blocking for “Belle” or “Human Again.”

UNDERSTANDING THE BEAST

Use this to: help actors examine their perceptions of the Beast.

Invite actors into a circle and place a chair in the center. Tell actors that the chair signifies the Beast, and the closer they are to the chair represents how much they empathize or connect to the Beast in that moment of the show. Read aloud the following plot points, prompting actors to move toward or away from the chair in response to each moment in the story: •

The Young Prince turns away the Old Beggar Woman and in return is turned into the Beast.

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The Beast is upset at Maurice for intruding on his castle.

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The Beast attempts to invite Belle to dinner and is angry when she refuses.

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The Beast feels pressure to connect with Belle due to the spell.

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The Beast begins to fall in love with Belle due to her kindness.

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The Beast frees Belle because he realizes that she needs to return home to her father.

Reflect briefly with the cast using the questions: •

When did you experience the most empathy with or connection to the Beast?

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Is the Beast a villain?

Apply to rehearsal: by repeating this activity with actors in role as their assigned character to build understanding of their relationship with the Beast.

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Connecting to the Story Facilitate these activities at the beginning of your rehearsal process to introduce your cast to the world of the play.

Use them to bring the themes and historical context of Beauty and the Beast to life in your rehearsals and to help your actors connect to the show.

THIS PROVINCIAL LIFE

Use this to: develop the environment and historical context of Beauty and the Beast.

Beauty and the Beast takes place in the 18th century in a small village inspired by France's Alsace region. Divide actors into groups and tell them that they are stepping into role as dramaturgs for their production. Assign each group different research topics such as the clothing, economy, inventions, art, geography, and any milestones that happened in France during that time period. You could assign this as a task to be completed outside of rehearsal or you could provide time and materials for their research. (Refer to the Dramaturgy and Resources chapters of this handbook for some inspiration.) Once the groups have completed their research, task them with creating a commercial for their aspect of the French provincial life that shares key facts about it at that time (population size, what it looks like, transportation options, etc.). Invite each group to share their commercials so all can benefit from the research.

Apply to rehearsal: by encouraging actors to use elements from history to create specificity in their character choices.

DISCUSSING DIFFERENCE

Use this to: connect to the theme in the story that beauty should be found within.

Facilitate a discussion with your actors using the following questions: •

Why are Belle and Maurice considered “different” in their town? How does this perception of their difference inform the plot of the story?

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Why do people fear the Beast without ever having met him?

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Even though Belle and the Beast are very different, how are they are able to build common ground?

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When have you been able to overcome difference?

Apply to rehearsal: by using these questions to inform character intent before staging scenes and musicals numbers such as “The Mob Song.”

REFLECTING ON INNER BEAUTY

Use this to: connect to the theme in the story that beauty should be found within.

In Beauty and the Beast, the conflict between physical appearance and inner beauty is often at the center of the story.

Gaston’s tendency to focus on Belle’s beauty rather than getting to know her, the Beast not helping the Old Beggar Woman due to her appearance, and the symbol of the magic mirror are examples of how this theme is represented in the story. Gather actors in a circle around you. Share with them that you will say “Magic mirror, show me someone who…” If the statement is true for them, they should find a new place in the circle. Begin with prompts about physical appearance such as “is wearing blue jeans” or “has their hair in a ponytail.” Next, transition into prompts surrounding inner beauty that are inspired by the story of Beauty and the Beast, such as “I volunteer in my free time” or “I have defended a family member or friend during a misunderstanding.” Consider allowing actors who are the last to find a new spot in the circle to replace you and offer the next prompt about inner beauty. After several rounds of this activity, reflect with the cast on what it felt like to focus on inner beauty rather than physical beauty during this activity.

Apply to rehearsal: by asking actors to participate in role to build their characters’ connections to the theme of inner beauty.

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STAGING B

eauty and the Beast is a musical fairy tale incorporating multiple locations, a myriad of costumes, and a few magical moments. Use the tips below to keep the story and talents of your performers at the forefront of your production and to help find a creative and fluid concept that embodies the spirit of this show.

CONCEPT Bringing the magical world of an enchanted castle to life can be achieved in many different ways. Whatever the approach, solidifying a strong directorial concept long before rehearsals begin and designs are created will help set up your production for success. To help shape your concept, here are some ideas to consider: Will actors help transition the set, move set pieces, and create the illusions? Will the production utilize storytelling devices like puppetry and projections to portray key plot points and transitions? From leveraging the elements of story theater to utilizing highly technical elements to create illusions, find a concept that works for your cast, space, and budget.

DESIGN Director and designers should work closely together to ensure that all costuming and sets support the directorial vision while also keeping in mind any spatial challenges or choreography. Costume design might affect movement and choreography, while the set design will inform all blocking and transitions. The director’s vision should be communicated clearly to all members of the team to ensure that everyone is telling the same story.

TRANSITIONS Beauty and the Beast utilizes two types of scenic transitions. The first occurs when the action must move quickly from one location to the next. The second tracks a character’s journey as they travel from one location to another. Carefully plan how to creatively and seamlessly tackle these often rapid scene shifts; each scene change should last no longer than the underscoring provided. The first step is to ensure your production’s set design lends itself to switching locations efficiently (for tips on how to accomplish this, see pp. 19-23 of this handbook); then, support all transitions with lighting. Also, find moments when your set changes can overlap with the beginning or end of a scene’s dialogue or musical number.

For the transitions when the audience watches a character travel, set up a convention and use that approach each time. For example, when tracking Maurice from the village to the forest and, ultimately, to the castle, consider blocking the actor to move in a circuitous pattern on the stage as the scenery changes around him. Then, later in the play, repeat that movement pattern while the scene shifts when the mob heads to the castle.

CHOREOGRAPHY From establishing the world of the play with “Belle,” to showcasing the elaborate magic in the castle with “Be Our Guest,” the choreography in Beauty and the Beast should help bring the play to life. Draw inspiration from the style and mood of each song and let the plot points guide you in your choreographic storytelling. Be sure to build plenty of time into your rehearsal schedule to tackle the iconic show-stopping numbers like “Gaston” and “Be Our Guest.”

ILLUSIONS & CREATIVE CHALLENGES Beauty and the Beast offers some staging challenges as well as opportunities to create illusions, including: the transformation of the Old Beggar Woman into the Enchantress; the reveal of the magic mirror; the wolf attacks; and finally, the fight and the final Beast transformation. Your production’s directorial concept will inform your approach, but with each moment, keep the focus on the story first and foremost, and always take a step back to check that the plot points are conveyed clearly. For the moments that call for an element of illusion, consider how you might utilize different methods to mask the mechanics of what is occurring, whether through body placement, set pieces, or other elements such as fog, flashing lights, a scrim, etc. Alternatively, you might choose to take a highly theatrical approach and use creative movement, puppetry, or projections to tackle challenging staging moments.

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SCENES & MUSICAL NUMBERS Below are some staging and choreographic approaches to key moments in the show. Keep these in mind when diving into your production of Beauty and the Beast.

ACT ONE Prologue •

#2 – Prologue: Your approach to this narrative sequence will set the tone and vision for your production.

Whether you choose a highly conceptual approach (leaning on theatrical styles like puppetry and tableaus) or technical elements (such as projected images on a screen), above all, ensure that the storytelling is clear. You might choose to utilize an offstage narrator (or voiceover) while the story plays out onstage, or you might split up the narration among many ensemble members, who each tells a piece of the story.

For the transformation of the Old Beggar Woman into the Enchantress, utilize a large cape with a hood to mask her beautiful gown underneath. She can drop the cape dramatically for the reveal, or her costume can be designed so the inside of the cape folds over to become the dress when the cape is dropped. (For more tips on costuming, see p. 28 of this handbook.). For added effect, the performer can fly as she transforms. If you choose this approach, be sure to work with a theatrical flying company specifically trained and equipped to help achieve this type of illusion safely (see p. 68 of this handbook for some ideas). For the Beast, one approach is to sew his clawed hands and headpiece into his cape, allowing him to put up the hood and then reach in to don his claws and reveal his beastly form when it is time.

Then, mask the mechanics through fog, creative movement, or lighting. You might also choose to use an actor double, utilizing the same technical methods to mask the switch.

The Old Beggar Woman transforms into the Enchantress.

Champaign-Urbana Community Theatre; Champaign, IL

Scene 1: Village •

Staging

#3 – Belle: The goal of this number is to create a visual juxtaposition of the busy village teeming with the hustle and bustle of people going about their day with Belle’s ruminations as she remains in a world of her own. Using a variety of speeds in your blocking can help support this. Carefully set each actor’s traffic pattern as they move around the stage quickly while Belle slowly wanders among them, perusing her book.

Additionally, you can employ slow motion movement at key moments to allow the focus to shift solely to Belle.

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The villagers go about their day as Belle wanders, lost in thought.

French Woods; Hancock, NY

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#4A – Maurice Travels: Employ your concept for a traveling transition as Maurice leaves the village, heading to the forest. The actor can stay center stage with his invention while the set shifts around him, or he can move around the stage (possibly even venturing out through the house) while the scene changes piece by piece, ultimately leaving him in the newly set forest scene.

Scene 2: Forest •

#5 – Wolf Chase #1: There are many ways to approach this wolf chase. Remember to consider your directorial concept, including elements of illusion, and incorporate those ideas here. Adding a scrim downstage and manipulating the lights to feature only moments when the wolves are striking can increase the stakes of this moment. If you are incorporating shadow puppets or projections, consider using the trees in the forest as screens by creating tree-shaped frames and stretching translucent fabric over them. The wolf shadow puppets alternately can cast shadows on the screens and then grow while being front-lit, which then cast shadows on the back wall that engulf Belle; this creates the effect that the shadow-wolves are pouncing. If you choose to cast actors as wolves, consider the scale and proportions of their costumes and the style of their movement.

Be sure that this moment is consistent in its approach with your larger directorial vision.

Scene 4: Cottage Stage the cottage scene far downstage and use a lighting shift or backdrop to cover the castle set upstage. This will create an efficient transition into and out of this scene.

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#6 – Me: Though this song is a proposal, it’s all about Gaston, and it should be clear that he is oblivious to Belle’s very strong, negative feelings on the matter. The staging should magnify the struggle between Belle attempting to brush him off and move on with her day, and Gaston relishing in the sound of his own voice and expecting her to do the same. Though Gaston is pushy verbally, his assertiveness should not translate into any physical aggression toward Belle (e.g., he should not grab her; both actors should feel safe at all times). At this point, Gaston is concerned entirely with celebrating himself, and he is baffled by her disinterest. His movement should feel very presentational, while Belle naturally reacts to his theatrics by dodging his advances.

Scene 5: Castle •

Staging

#7B – Belle in the Dungeon: Smartly use your space as Belle is led through the castle to her room. If working with a unit set for the castle, be sure to move the performers throughout the whole space as they travel

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to Belle’s room in order to give the impression that the property is enormous. Also, during this transition, Madame de La Grande Bouche should take her position so she is ready for her reveal once Belle enters.

Scene 6: Tavern Consider using your ensemble to support the transition from the castle; they can enter rowdily as they shift the scene into the tavern, helping to bring on tables, chairs, and other set pieces.

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#9 – Gaston: This celebration of Gaston is one of the largest dance numbers in the show. The now classic choreographic concept involves using metal steins to add percussive elements to the dance break. If employing these props in your choreography, explore all the different ways to make the percussive sound – from clinking two together, to clinking them on tables or other set pieces. If you choose to reimagine this number, consider how to utilize elements in the tavern in your choreography, such as jumping and dancing on tables, rolling barrels, etc.

Gaston and the villagers clink steins in the tavern.

University of Northern Colorado; Greeley, CO

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#9A – Gaston (Reprise): The villagers should exit with Gaston's cronies, leaving Lefou and Gaston alone to hatch their plan.

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#10 – How Long Must This Go On: This magic mirror moment can be achieved simply by isolating the light into the separate areas of the stage where the action is occurring (the west wing and Belle’s room).

Scene 7: Castle •

Staging

#11 – Be Our Guest: Although this number takes place in the castle, this song can move out of the realm of the realistic and into the fantastic, so consider how costume design might inform and enhance this choreography (for more info, refer to pp. 33-34 of this handbook). Throughout the song, Belle is introduced to the various elements of the dinner service, from flatware, to plates, to napkins. Listen closely to the different musical themes and identify which correlates with each group of characters. Here are a few examples to get you started: ◦

m. 131-150: Soft shoe between Belle and Lumiere

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m. 151-173: Presentation of the plates à la the Ziegfeld Follies

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m. 279-297: Carpet tumbling routine

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m. 299-314: Cheese grater barrel turns

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m. 315-end: Napkin cancan

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Gradually build the number by showcasing one small group after another culminates in a grand and elaborate ending with the full ensemble of enchanted objects onstage. Reminiscent of a large-scale, show-stopping Busby Berkeleystyle production number, use a variety of formations to achieve a kaleidoscopic effect and a spectacular finish.

Lumiere presides over dinner in “Be Our Guest.”

University of Northern Colorado; Greeley, CO

Stage Combat Tips In Beauty and the Beast, the wolf chases and the fight on the tower between Gaston and the Beast that leads to Gaston’s death require meticulous and well-timed choreography. While you can hire a professional fight choreographer to assist you, below are some tips on devising your own stage combat for your production that is both safe and specific.

Staging

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Stage combat is also referred to as fight choreography because it needs to be as specific in movement as a choreographed dance would be. Traffic patterns (or tracks) must be replicable in order to keep your cast safe.

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When blocking, walk through the movements in slow-motion first. While this can be an opportunity for actors to help devise the fight choreography, it is also the time to set very clear parameters using rehearsal props.

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If underscoring is involved, consider how you can choreograph the fight to align with the music, just like a dance number.

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Start small and add on to the action – i.e., begin with two people, slowly adding in any others. Start with key beats, layering in details once your actors become comfortable and confident.

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Both parties should be in control at all times, but the reactor, or receiver of an action, should be dictating the movement. The instigator of the action initiates the contact, but the reactor performs the follow through.

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The parameters of each rehearsal should be clarified before you begin, e.g., tempo (slow motion or real time), use of props, etc. Always make sure everyone is on the same page.

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Schedule a fight call before every performance during which your actors can practice their specific fight choreography. Remind them that the adrenaline produced during live performance brings with it the possibility of mistakes, so it is important to work through these moments over and over directly before curtain.

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ACT TWO Scene 1: Forest •

#14 – Wolf Chase #2: During this wolf chase, use the same approach as in Act One to show the attack, but pay close attention to the clarity of each plot point within the action. First, the wolves attack Belle. Next, the Beast leaps in and pulls them off of her, hurling them away. (Note: This should be choreographed and rehearsed meticulously so that each actor feels safe and secure. See Stage Combat Tips on p. 50 for best practices.) The Beast is wounded and Belle runs to his side. She assists him to stand, and they head back to the castle as the scene transitions around them.

Scene 2: Castle Utilize the castle staff to set the stage for the various locations in the castle in the following scene.

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#16 – Human Again: This song calls for a larger production number that allows the audience to see all the castle staff joining together. When approaching this choreography, keep in mind the role each character played in the castle before the enchantment and let that inform their movement. Madame de la Grande Bouche should move about with the dramatic flair of an opera diva, while the uptight Cogsworth would move with an air of fastidiousness. This waltz also lends itself to some lovely partnering.

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#17 – Beauty and the Beast: The nervousness of both Belle and the Beast should be evident at the beginning of this dance. Once they become more comfortable, their growing connection should be clear as they glide effortlessly across the floor. Really open up this number, using the entirety of the space to showcase how unencumbered they now feel together.

The Beast and Belle dance in “Beauty and the Beast.”

South Bay Conservatory; Rolling Hills Estates, CA

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Scene 3: Cottage •

#20 – The Mob Song: During this number, the action transitions from the cottage to the forest and then to the castle. Use different formations to reinforce the villagers’ growing mob mentality throughout this song. Employing your traveling convention, move the ensemble from location to location (this can include throughout the theater's house) before finally arriving at the castle. At this moment in the show, there may be complex feelings and emotions. For this scene and the following, work thoughtfully to ensure that all members of the cast feel emotionally and physically safe.

Gaston leads the mob of villagers to the castle.

University of Northern Colorado; Greeley, CO

Scene 4: Castle •

#20A – Fight on the Tower: Stage this pivotal moment very carefully, pinpointing each dramatic beat and how it aligns with the underscoring; then, work through the transitions between them. These beats include: Gaston finds the Beast on the balcony and kicks him; the Beast does not fight back and Gaston stabs him twice; Gaston stumbles and, ultimately, falls off the turret. For Gaston’s death, ensure he has a clear path (not visible to the audience) for him to fall safely onto a padded surface like a foam mat; or, he might simply stagger offstage or behind a set piece.

Gaston kicks the Beast.

University of Northern Colorado; Greeley, CO

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#22 – Transformation / Finale: This final moment of transformation should be reminiscent of the Young Prince’s initial transformation into the Beast. Some successful approaches include using an actor double for the fight (incorporating a trapdoor onstage to swap out the actors) or utilizing the Beast’s cape (if the costume design includes one) to cover the change in costume (the actor removes the “beast“ pieces and they fall away, revealing the Prince). When using the latter approach, you can affix the “beast” costume elements to the cape itself, so when they are removed and the cape drops, it all comes off as a unit. Creative movement can help cover this change; for example, the actor can lift the cape up around himself as he releases his own mask.

Additionally, this change can be covered using elements of lighting and fog.

The final reprise of “Beauty and the Beast” is comprised of the full ensemble, now appearing as the transformed castle staff. This choreography can be reminiscent of the previous iteration of this number, now including the whole ensemble; or, for a simpler approach, create a final stage picture over the course of the short reprise.

The Beast begins to transform.

Barbara Ingram School for the Arts; Hagerstown, MD

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AUDIENCE & STUDENT ENGAGEMENT

P

roducing a musical is an excellent opportunity to deepen your connection with your community. Whether you’re affiliated with a high school, college, or community or professional theater, presenting Beauty and the Beast offers rich opportunities for audience engagement, including the five methods below.

TALKBACKS: FOR ALL AUDIENCES Post-show talkbacks are an excellent platform for audiences to forge deeper connections with your production.

Providing a talkback offers audience members an opportunity to connect with one another, the cast, and/or the creative team in a discussion about what the show means to them. The Talkbacks section of this chapter offers tips for facilitating talkbacks following your performances.

PRE- AND POST-SHOW WORKSHOPS: FOR ALL AUDIENCES Attending the theater can be a transformative experience. When the theatergoing experience is extended to exploration of the show’s themes before and after attending the production, the impact is even greater. The lesson plans in the Pre- and Post-Show Workshops section offers audiences the opportunity to go deeper by exploring the themes of the show and how they connect to their lives. Arrange pre- and post-show workshops at the school or theater and facilitate with attending audiences; additionally, if you’re performing the show at a high school, offer the lesson plans to your fellow teachers or facilitate with attending students. Feel free to modify the lessons to suit your needs.

CURRICULUM CONNECTIONS: FOR HIGH SCHOOL STUDENTS Staging Beauty and the Beast will provide your high school cast and crew with a valuable education in the art of theater-making. Additionally, this show provides rich opportunities for cross-curricular investigation and can be a springboard for learning beyond rehearsal. The Curriculum Connections section offers lesson plans that use arts integration techniques that allow students to explore varied subjects through an engaging and accessible forum.

Share these lesson plans with English and art teachers, or use them to enrich your exploration of the play in rehearsals.

Feel free to modify the lessons to suit your needs.

IN-THEATER ENGAGEMENT: FOR ALL AUDIENCES Engagement with the show doesn’t have to begin and end with the performance. The In-Theater Engagement section offers suggestions for connecting audiences and your community to the world of Beauty and the Beast and to your theater.

PERFORMANCE GUIDE: FOR ALL AUDIENCES Providing your audiences with a tool to explore the show’s themes and background allows them to engage deeply with the material on their own time. Consider creating a Study Guide or Performance Guide to share with your audience before they attend your show. You are welcome to pull excerpts from the Page to Stage & Beyond, Dramaturgy, and Resources sections of this guide as well as the Pre- and Post- Show Workshops. If you do, please be sure not to alter the content of these sections and to credit Disney Theatrical Productions in your publication.

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Talkbacks FORMAT CONSIDERATIONS The most traditional form of a talkback is a simple question-and-answer session with the cast and/or creative team, offered to specific groups attending the show or to the audience at large. This format of a talkback is always an engaging and exciting opportunity for audiences to enjoy an insider’s look into your production. Some theaters also offer thematic talkbacks, sometimes with local experts or scholars, that are designed to unpack the play’s themes or historical context with the audience. Tips and tools are provided below, along with specific discussion starter ideas.

BEST PRACTICES FOR THE FACILITATOR •

Make sure that you are well-versed in the production’s history and dramaturgical information.

•

At the end of the show, invite the group or audience to move to the front of the house so that the cast or talkback attendees can see and hear the participants.

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Engage the group in a discussion while they await the cast or creative team. Ask questions such as: What did you like about the show? What did you notice? What surprised you? This could also be a moment to share any relevant dramaturgical information.

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When the cast or other talkback attendees arrive, invite them to introduce themselves and the role they played in the production. Tailor the conversation to the talkback participants; if the guest is the director or the designer of the show, prompt questions about vision and process.

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When facilitating questions from the audience, consider the following: ◦

Use audience members’ clothing to identify them when calling on them rather than making assumptions about gender, etc.

◦

Repeat questions aloud and direct the question to a specific cast member if needed.

◦

Catch any awkward questions to the cast by answering them generically or rephrasing the question.

DISCUSSION STARTERS When facilitating a discussion that focuses on the themes of the show, ease into the discussion before posing more challenging questions. If the discussion becomes unproductive or unnecessarily charged, bring the discussion back to the world of the play and its inhabitants. Below are sample prompts focused on the themes of the show: •

Which characters in the story made the greatest change? Which characters stayed the same? Why do you think that is?

•

Who is the hero of this story? Why?

•

What can we learn about hospitality from this show?

•

When Gaston rallies the villagers in the “The Mob Song,” everyone joins willingly. Consider what might have happened if someone had disagreed with this course of action. How might the story have been different?

•

Belle and Maurice are considered “different” in their town. How do they each respond to this? How does this impact their interactions with others?

•

Even though Belle and the Beast are very different, they are able to build common ground. How?

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Pre-Show Workshop BE OUR GUEST Use this workshop to: prepare audiences to see Beauty and the Beast and explore the theme of hospitality.

Objectives: Participants will…

•

learn theater vocabulary and concepts;

•

embody characters from Beauty and the Beast;

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work in groups to develop original blocking and movement to stage “Be Our Guest.”

Materials: •

“Be Our Guest” Reference track (see Reference Recording*)

*A digital download link to the Reference Recording is sent to your organization’s MTI account manager upon licensing the show. This link is accessed from your “My MTI” page at mtishows.com.

Time: 45 minutes Introduction (1 minute) In Beauty and the Beast, the main character, Belle, sacrifices her freedom to save her father from imprisonment in the Beast’s castle. Her time there begins to improve when the castle staff hospitably invites her to dinner. In this workshop, we’ll explore how to infuse hospitality and kindness theatrically to create a welcoming environment.

Warm-Up (9 minutes) 1. Invite participants into a circle and facilitate a brainstorm using the prompts below. Feel free to add prompts of your own.

•

What jobs are there in the Beast’s castle?

Facilitator Tip: As participants offer different jobs, connect characters from the musical to the job.

•

What personality characteristics should you have if you work in the castle?

•

Do the jobs in the Beast’s castle exist in the real world? How?

•

What do you think is the meaning of hospitality? (An example definition: the friendly and generous reception and entertainment of guests, visitors, or strangers)

2. After this brainstorm, prompt participants to select one character from the castle in Beauty and the Beast that they would like to embody individually.

3. Next, ask participants to select one task or activity in the daily life of that character.

4. Once participants have selected the task or activity, prompt them to create a tableau, or frozen image, that represents the task. Side coach participants to choose a pose that is a different level from the person next to them and to consider how they can bring the definition of hospitality into their pose.

5. Invite participants into the center of the circle to share their pose with the group.

Hook (10 minutes) 1. Share with participants that you are going to play the song “Be Our Guest.”

2. As the song plays, prompt them to move around the room as their selected character with the intention of welcoming Belle into the castle. Side coach them to incorporate tasks of that character’s job, movement, and facial expressions to indicate the spirit of hospitality.

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3. As they move to the music, offer “as if” prompts to participants, such as: •

Move as if you are a trio of characters showing Belle a new room in the castle.

•

Move as if a table is in the center of the room and you all want to congregate around it.

•

Move as if you are going the extra mile to retrieve something Belle requested.

4. As the song draws to a close, instruct participants to break into a minimum of four groups.

5. In their small groups, instruct participants to create a group tableau that represents the welcoming environment their specific characters want to create.

6. Facilitate a simultaneous presentation of the tableaus and regain the group’s attention by calling out “1-2-3-FREEZE!” Main Activity (20 minutes) 1. Tell participants that the tableau they just created is their group’s ending pose for the rest of the activity.

2. Share with participants that they will now create original staging for the following lyrics from “Be Our Guest.”

(Consider writing the lyrics on the board or on chart paper for easy reference during the activity.)

COURSE BY COURSE ONE BY ONE! TILL YOU SHOUT “ENOUGH, I’M DONE!” THEN WE’LL SING YOU OFF TO SLEEP AS YOU DIGEST TONIGHT YOU’LL PROP YOUR FEET UP! BUT FOR NOW, LET’S EAT UP! BE OUR GUEST! BE OUR GUEST! BE OUR GUEST! PLEASE BE OUR GUEST! 3. Share with participants that instead of imagining Belle as the guest, they will imagine one of the following as their guest: •

A family member

•

A close friend

•

An enemy

•

A stranger

4. Assign each group one of the four categories and allow participants five minutes to discuss how they might approach their assigned type of guest in a way that is appropriate for their relationship but still maintains the spirit of hospitality.

5. Share with participants that their final group tableau should occur when they say, “Please be our guest!”

6. If your participants are new to theater, consider providing the following three ways into devising staging: •

Create one group tableau per line.

•

Utilize choreography to tell the story.

•

Assign each group member a line and stage it like a scene.

7. Remind participants that their final group tableau should occur when they say, “Please be our guest,” and allow at least ten minutes to devise their staging.

8. As time allows, invite groups to share their work with the rest of the participants.

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Reflection (5 minutes) Facilitate a discussion using the following prompts: •

How did the type of guest impact how you embodied hospitality?

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What was your group’s approach to welcoming your guest?

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In what situations is it difficult to be hospitable?

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How can you infuse your daily interactions with a genuine sense of hospitality?

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Post-Show Workshop A CHANGE IN ME Use this workshop to: guide audience members to reflect on their experience seeing Beauty and the Beast and explore how transformation was experienced throughout the story.

Objectives: Participants will…

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reflect on their experience seeing the play;

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work in small groups to explore character transformation in Beauty and the Beast;

•

make personal connections to the show’s themes.

Time: 45 minutes Introduction (1 minute) We all saw Beauty and the Beast and observed the show’s themes. Today, we’re going to reflect on the idea of transformation and how or why a character’s perspective, appearance, or relationships may change.

Warm-Up (4 minutes) 1. Invite participants to join you in a circle.

2. Facilitate a brief reflection on the show with the following question: “What kinds of transformation did you see throughout Beauty and the Beast?”

3. Encourage participants to dive deeply into the question and consider design elements, music, and characters as they respond. Consider notating everyone’s responses on a white board or chart paper for reference.

Hook (15 minutes) 1. Instruct participants to choose one character from Beauty and the Beast whose perspective they will represent in the next activity.

2. Once everyone has selected a character, share with them that the room is now an immersive scale. This means that where they stand in the room will measure how much their character agrees with the prompts provided.

3. Establish for participants that one side of the room will represent “Yes, I 100% agree with that statement,” the opposite side of the room will represent “No, I do not agree,” and the middle of the room is neutral.

4. Share with participants that you will say a prompt, and in response, they should place themselves along the scale from their character’s perspective. Check to ensure that everyone understands what each area of the room represents before beginning.

5. Begin the activity using the following prompts: •

At the beginning of the show, I am welcoming to people different than me.

•

At the beginning of the show, I am open to love.

•

At the beginning of the show, I am a hopeful person.

•

At the beginning of the show, I am afraid of the unknown.

6. After each prompt, allow 1-2 minutes for participants to talk to the person closest to them about which character they selected and why they chose that area of the room to represent their perspective.

7. Next, repeat the prompts above, but replace “at the beginning of the show” with “at the end of the show.”

8. After participants respond to the prompts from their character’s perspective at the end of the show, invite them back into a circle.

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9. Facilitate a full group reflection using the following questions: •

How did your characters' perspectives change by the end of the story?

•

Did any of you pick a character that didn’t change? Why do you think that is?

•

Either from this activity or from your experience at the production, which characters do you think changed the most?

Main Activity (20 minutes) 1. Divide participants into groups and prompt each group to select one character who they believe experiences a lot of transformation in Beauty and the Beast.

2. Prompt each group to create one tableau that represents their character at the beginning of the musical, and a different tableau that represents their character at the end of the musical. Allow at least five minutes for tableau creation.

3. Next, prompt groups to create an extensive list of every dramatic action, character, song, and plot point that influenced their selected character’s transformation.

4. After participants have created their list, prompt them to select one element that they think had the largest impact on their character’s transformation.

5. Instruct participants to use this action, character, or song to create a transition between the beginning tableau and the end tableau. Add the following parameters: •

The transition should be at least 30 seconds long.

•

The transition should utilize at least two out of the following: music, text, movement, or design elements (e.g., sound effects, lighting, props, etc.).

•

Every group member should be involved in the creation and execution of the transition.

6. Next, prompt the groups to assign a title to their characters’ transformations.

7. Invite each group to share their character’s transformation for the rest of the class.

Reflection (5 minutes) Facilitate a discussion using the following prompts: •

What makes a person or character open to change?

•

How did your character hold onto who they are as they experienced something that caused an external or internal transformation?

•

Can someone make the choice to change or does change happen to them?

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Curriculum Connections: English Language Arts DIFFERENT PERSPECTIVES Use Use this lesson to: examine the role of the bystander and write a new scene for Beauty and the Beast.

Objectives: Participants will…

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Compare and contrast two songs from Beauty and the Beast;

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Develop a character background for an ensemble character in the musical;

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Write a scene.

Materials: •

“Belle” and “The Mob Song” recordings (see Reference Recording*)

•

“The Mob Song” scene/sheet music (see Libretto Vocal Book)

*A digital download link to the Reference Recording is sent to your organization’s MTI account manager upon licensing the show. This link is accessed from the “My MTI” page at mtishows.com.

Time: 45 minutes Introduction (1 minute) Beauty and the Beast is a play about difference. So much of the story’s plot revolves around how characters respond to someone who is different from them. Today, we’ll create our own characters within the world of Beauty and the Beast and explore how they respond to difference.

Warm-Up (9 minutes) 1. Share with students that you are going to play the opening number from Beauty and the Beast, in which the audience is introduced to the villagers. Invite students to jot down observations about the villagers as they listen.

2. Play “Belle” and then facilitate a brief discussion about what students have learned about the town and its inhabitants. Side coach to encourage students to focus on the individual characters rather than making generalizations.

3. Invite students to an open space in the room and ask them to pick a character they noticed in the song or heard described by their peers.

4. Explain that you’ll play the song again, and this time, they should move about the space as that character.

Side coach with questions like: What is your character doing in the town square? Are they shopping? Are they selling something? Where are they going next? What do they think of their neighbors?

Hook (5 minutes) 1. Invite the group to be seated and share that you’re going to play another song from the show that features the villagers.

2. Play “The Mob Song” and facilitate a brief discussion with the group: •

What do you notice about the villagers now?

•

What’s changed between the beginning of the show and this moment in the show?

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Main Activity (20 minutes) 1. Shift the discussion to considering how things could have gone differently: •

What might have happened if someone had believed Belle and stood up to Gaston alongside her?

•

Who would that person need to be in order to be effective?

•

What would they need to do to change the tide?

2. Ask students to choose a character who they think might stand up to Gaston. It can be the character they inhabited in the first activity or someone they think might be in, or work at, the tavern.

3. Distribute the “The Mob Song” scene to students for reference and instruct them to write a new scene in which someone disagrees with Gaston and shifts the outcome.

4. Once students have had ten minutes to write, encourage them to circle the line that they think is most effective in convincing their neighbors to leave the Beast alone.

5. Gather everyone in a circle and invite students to share the line they’ve circled.

Reflection (5 minutes) Facilitate a discussion using the following prompts: •

What similarities did you notice in the lines shared?

•

What are the different tactics employed in the lines?

•

What does it take to be an effective advocate for an idea or person?

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Curriculum Connections: Visual Arts DESIGNING TRANSFORMATION Use this lesson to: explore how costume design can communicate character.

Objectives: Participants will…

•

conduct brief character analysis on characters from Beauty and the Beast;

•

develop their own character;

•

design a costume for that character.

Materials: •

Costume Design Template (provided on p. 66 of this handbook)

•

Drawing utensils

Time: 45 minutes Introduction (1 minute) In Beauty and the Beast, a young prince and his castle staff are cursed by an enchantress. The Beast is slowly turning into an animal while the castle staff are slowly turning into objects within the castle. Today, we’ll explore how the personality of each character in the castle influences the object they are transforming into and how that can be communicated through costume design.

Warm-Up/Hook (9 minutes) 1. Assess your student’s prior knowledge of Beauty and the Beast by asking quick questions such as: Who has seen the animated film? Who has seen the stage musical? If a vast majority of your students are not familiar with the story, share a synopsis of the musical, which can be found on pp. 6-7 of this handbook.

2. Facilitate a brief brainstorm of the characters found in the castle. Ask your students to consider the objects the characters are transforming into and how that correlates with their personality (e.g., Cogsworth, who is a strict rule follower, is transforming into a clock; Lumiere, a romantic, is transforming into a candelabra; Mrs. Potts, who is warm and welcoming, is transforming into a teapot).

3. Next, invite students to identify three main qualities of their own personality. After a few minutes, ask them to imagine that they are under the castle’s spell and they are transforming into an object that reflects one of their personality traits.

4. Ask each student to select the object they’ll be turning into, and if time allows, invite them to share their object and the corresponding character quality.

Main Activity (30 minutes) 1. Distribute the provided Costume Design Template.

2. Explain that they will now step into role as costume designers to create designs for their own enchanted characters. Their task is to create a costume that clearly illustrates their identified character qualities and the object they are turning into.

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3. Share the following considerations: •

What type of clothing item might this character wear? How can that be enhanced or altered to allude to their object?

•

How can accessories add to the design?

•

How can color, texture, and materials communicate character?

•

How will the shape of the costume and weight of the fabrics affect the actor’s movement onstage?

4. Allow students ample time and materials to create.

5. If time allows, facilitate a gallery viewing in which students can observe other students’ designs.

Reflection (5 minutes) Facilitate a discussion using the following prompts: •

What was the design process like? What was challenging?

•

What materials did you consider for your design?

•

How might you adjust your design to slowly become more and more inanimate throughout the show?

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COSTUME DESIGN template Use this template to sketch your costume ideas.

DisneyMusicalsInSchools.com/StageConnect

©Disney, 2019

In-Theater Engagement Invite audience members to engage deeply with the story of Beauty and the Beast by transforming your lobby into an informational and interactive environment.

VERSIONS OF THE BEAST Beauty and the Beast was Disney’s first foray into creating a Broadway musical. A Disney animated film preceded the stage adaptation, a live action film followed it, and of course, the original fairy tale has been adapted for all artistic mediums by various artists over the years. Create a gallery displaying images and captions from different iterations of “Beauty and the Beast” so that audiences can connect with the myriad ways these characters have been artistically represented and how their stories have been continued. Consult the Dramaturgy section of this handbook (pp. 9-14) for information on how the fairy tale has evolved.

FINDING BEAUTY Create an exhibition that centers on one large mirror or reflective area in your theater lobby. Provide dry erase markers and prompt audience members to write one word or phrase that describes how people can amplify their inner beauty.

Consider pre-writing specific prompts such as “I see someone’s inner beauty when they…” or “Inner beauty means…” to help inspire audience members’ answers.

GASTON’S CONCESSIONS Revamp your concession stand to depict Gaston’s tavern from Beauty and the Beast. Sell French fare such as croissants and macarons, and set up a box for donations or a raffle to raise money for next year’s theatrical production!

BELLE’S PHOTO BOOTH & BOOK DRIVE Invite your audience members to capture their excitement with a Beauty and the Beast-themed photo booth. Provide numerous storybooks as props, and invite audience members to bring their own childhood books for donation. Write popular lyrics from Beauty and the Beast on chalkboards, and instruct participants to strike a pose that is inspired by the book they are reading. After the production is complete, donate the books to a school or neighborhood library!

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RESOURCES B

elow is a list of resources to get you and your cast started in exploring the world of Beauty and the Beast.

Encourage your cast and designers to do further research on the topics they are most interested in or that best relate to their characters or roles in the production. Following this list, you’ll find a Script and Production Handbook Glossary.

Architecture “An Introduction to the Rococo”: ThoughtCo’s guide to rococo architecture by Jackie Craven, updated in 2019.

“You Can Visit the Two French Villages That Inspired Belle’s Hometown in Beauty and the Beast”: Stephanie Vermillion’s 2017 article for Mental Floss on Riquewihr and Ribeauvillé, two towns in the Alsace region upon which Belle’s village is based in the Disney version of the tale.

“Beauty and the Beast” in Literature Beauty and the Beast: Classic Tales About Animal Brides and Grooms from Around the World: This 2017 Penguin Classics anthology, edited and featuring an introduction by Maria Tatar, includes Beaumont’s “Beauty and the Beast” story as well as many of its antecedents such as “Cupid and Psyche,” “East of the Sun and West of the Moon,” and “King Pig.” “The Dark Morality of Fairy-Tale Animal Brides”: An article by Sophie Gilbert, published in 2017 in The Atlantic, examining the history of animal brides in fairy tales in response to Maria Tatar’s Beauty and the Beast: Classic Tales About Animal Brides and Grooms from Around the World.

“The Dark, Twisted Fairy Tales ‘Beauty and the Beast’ Is Based On”: Claire Fallon’s 2017 Huffpost article delves into the dark history behind the story of “Beauty and the Beast,” focusing primarily on the Villeneuve and Beaumont versions.

“The Storied, International Folk History of ‘Beauty and the Beast’”: A 2017 Smithsonian article by James Deutsch on the antecedents and various interpretations of the “Beauty and the Beast” tale.

Beauty and the Beast on Stage and Screen A Tale of Transformation: Twenty-Five Years of Beauty and the Beast on Stage: Jeff Kurtti’s 2020 book, published by Disney Editions, examines the stage musical on the occasion of its 25th anniversary.

“Broadway’s New Beast: The Inside Story of How Disney Turned a Smash Hit Movie Into a Smash Hit Musical (It Hopes)”: This 1994 article by Michael Goldstein for New York magazine provides a contemporary account of the opening of Beauty and the Beast on Broadway.

Disney’s Beauty and the Beast: A Celebration of the Broadway Musical: Don Frantz’s 1995 book, published by Disney Editions, chronicles the history of the stage adaptation of Beauty and the Beast and delves behind the scenes of the Broadway production.

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Tale as Old as Time: The Art and Making of Disney’s Beauty and the Beast: An updated 2017 edition of Charles Solomon’s 2010 book, published by Disney Editions, which covers the history of Beauty and the Beast through the animated film, stage musical, live action film, and beyond.

Clothing “How the Beauty and the Beast Costume Designer Worked with Emma Watson to Bring a ‘Modern, Emancipated’ Belle to Life”: Fashionista’s article, written by Fawnia Soo Hoo in 2017, on the costume design of Disney’s 2017 liveaction Beauty and the Beast.

“Introduction to 18th-Century Fashion”: A resource from the Victoria and Albert Museum on 18th-century fashion in England.

“Marie-Antoinette’s Style Revolution”: María Pilar Queralt del Hierro’s 2016 article for National Geographic examines French fashion in the late 18th century during the reign of Marie Antoinette.

“Robe à la Française”: The Metropolitan Museum of Art’s description of the robe à la française, a French article of clothing popular in the mid-1700s.

“Eighteenth-Century European Dress”: A 2003 article by Oriole Cullen for the Metropolitan Museum of Art explicating 18th-century fashion in Europe.

Dialects When learning a dialect, the Internet provides a wealth of material. How-to videos for just about any accent can be found on YouTube. It is also extremely useful when learning an accent to stay in character during the length of rehearsal. Listed below are some helpful websites.

British Library Sound Archive: Contains audio clips and oral histories from eleven different archives. Scroll down to “View by” for access to hundreds of recordings sorted by county, date, or as clickable options on a sound map.

IDEA (International Dialects of English Archive): Created by a dialect coach in 1997, this website contains dozens of samples of dialects from all over the globe.

France “Alsace”: Encyclopedia Britannica’s article on the geography and history of Alsace, the region of France that inspired Disney’s Beauty and the Beast.

“France, 1715-89”: Encyclopedia Britannica’s article on the history of France between 1715 and 1789, the time period during which Beauty and the Beast is abstractly set, and when both versions of “La Belle et la Bête” were written.

Illusions Flying by Foy & ZFX: These two well-respected theatrical flying services can help you fly the Enchantress or the Beast during their transformations.

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Stage Combat Society of American Fight Directors: The Society of American Fight Directors is an internationally recognized organization dedicated to promoting safety and excellence in the craft of stage combat. Contact your SAFD region representative for training opportunities or hire one of their certified teachers to help design your combat sequences.

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Script & Production Handbook Glossary The glossary below includes explanations of many of the less common words and expressions found throughout the libretto and this handbook. Page numbers indicate libretto page(s) they can be found on, while “PH” indicates a page in this guide. abate (61): To lessen or diminish. allo (16, 57): French slang for “hello.”

Alsace (PH 9, 47, etc.): A historical region in northeastern France bordering Germany and Switzerland. asylum (iii; PH 7, 15, etc.): Asylums were often used to sinister ends to remove and detain community members that society disdained. Today, individuals experiencing mental health crises may visit psychiatric facilities. aviary (59): A large bird cage. baroque (59): Referring to the style of European architecture, music, and art of the 17th and 18th centuries; characterized by heavy use of ornament. bonjour (2, 3, etc.): French for “hello.” boorish (25): Rude or ill-mannered.

Busby Berkeley (PH 52): American film director and choreographer (1895-1976) noted for his elaborate dance extravaganzas that he created using innovative camera techniques. cabaret (55): A restaurant or bar with live entertainment. centaurs (59): Mythological creatures with a human upper-body and the lower body of a horse. cherie (29, 52, etc.): French for “sweetheart.” cherubs (59): Winged, angelic beings depicted in the biblical tradition. coot (43): A foolish old man. cronies (iii, 39, etc.): Close friends. douses (40): Throws liquid over. en flambé (55): French for “on fire.” encore (56): An additional performance after the end of a show. entrée (56): French for “appetizer;” in English, this word refers to the main course. expectorating (40): Spitting. facade (5): An outward appearance that conceals a less appealing reality. flying buttresses (59): Stone support structures that form an arch with the wall they attach to. gunnysack (5): A sack made of burlap. hors d’oeuvres (54): French for “appetizers.” idyllic (23): Perfect or picturesque. jabot (PH 29): A decorative ruffle attached at the neckline and extending down the front of a man’s shirt. joie de vivre (76): French for “joy of life.” kingpin (40): The chief person in a group. ma chère mademoiselle (54): French for “my dear lady.” madame (iii, 8, etc.): French for “Mrs.” mademoiselle (8, 28, etc.): French for “Miss.”

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mais oui (7): French for “but yes.” mon capitaine (50): French for “my captain.” mon dieu (90): French for “my god.” monsieur (iii, 2, etc.): French for “sir.” neo-classic (59): Referring to the style of European architecture, music, and art of the 18th and 19th centuries characterized by iconography from classical antiquity (such as using columns in architecture). new-fangled (16): Of the newest style. nymphs (59): Mythological female spirits that preside over nature. oui (50, 55, etc.): French for “yes.” paragon (39): A perfect example. pardonnez moi (90): French for “excuse me.” pension (14): A payment made to a retired person. pish-tosh (54): An expression meaning “nonsense.” primeval (9): Ancient or prehistoric. provincial (2, 4, etc.): Regarding a small town, particularly with a connotation of narrow-mindedness. quarried (60): To have extracted a stone. ragout (55): French for “stew.” rapier (47): Sharp or keen. rendezvous (21): French for “meetings.” repulsed (1): To be disgusted or driven back. sacre bleu (90): A French expression of exasperation or surprise. s’il vous plait (57): French for “if you please.” sally forth (88): To leave a safe place to face a challenge. savoir-faire (74): French for “tactful.” scads (61): Many, or a large number of. sneered (1): Smiled or laughed in mocking manner. soft-shoeing (56): Performing a tap dance in soft-soled shoes. soufflé (55): A light, spongy French dish made with eggs. soup du jour (54): French for “soup of the day.” toute suite (73): French for “right now.” turret (92): A small tower that forms part of a castle. un, deux, trois, quatre, cinq, six, sept (57): French for “one, two, three, four, five, six, seven.”

Zeigfeld Follies (PH 41, 51): Lavish, spectacular theatrical revues produced by Florenz Zeigfeld from 1907-1931 featuring elaborately costumed showgirls.

Resources

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Beauty and the Beast Production Handbook

Music by Alan Menken

Lyrics by Howard Ashman & Tim Rice

Book by Linda Woolverton

PRODUCTION HANDBOOK CREDITS Editor Julie Haverkate Layout Editor Matt Hagmeier Curtis Writers Ken Cerniglia, Lauren Chapman, Julie Haverkate, Sarah Kenny, Natalie Lall, Janette Martinez, Colleen McCormack, Henry Tisch Additional Content Ky’Lend Adams, Marissa Bendit, Matt Hagmeier Curtis, Pearl Hodiwala, Michael Kosarin, Rachel Lee, Lisa Mitchell, David Redman Scott Designer Erica Scalogna Production Photos Barbara Ingram School for the Arts; Hagerstown, MD South Bay Conservatory; Rolling Hills Estates, CA Champaign-Urbana Community Theatre; Champaign, IL University of Northern Colorado; Greeley, CO French Woods; Hancock, NY The Walt Disney Grand Theatre; China (photos by Phillip Jarrell) Ignite Theatre Company; St. Louis, MO West Ashley High School; Charleston, SC Find a complete listing of Disney stage titles at DisneyTheatricalLicensing.com.

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