Beauty and the Beast at Northern Stage Review

Reviews

5 Dec

Written by Stacy for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review

Northern Stage at Christmas is always a magical experience that carries a special mix of excitement and expectation. Stepping inside the auditorium, I’m greeted with the familiar traverse format, the stage stretched between two banks of eager faces. The space, designed by Verity Quinn, is a kaleidoscope of bold colour shaped into a circus-inspired arena, as if the world of the show had been alive long before we arrived. It’s intriguing and inviting at the same time. The kind of setting that promises a good night.

As the performance leapt into life, what struck me first was the sheer spectacle of it all. Costumes burst with saturated pinks, yellows and blues that seemed to glow under the lights. Every character looked stitched together from imagination rather than tradition. Directed by Bryony Shanahan, the ensemble roamed the length of the traverse with a confidence that translated brilliantly. They could lean into one side of the audience, then whip their attention across to the other, making us feel like part of the act, whether we wanted to play along or not.

The shadow puppeteering, used as a narrative device, was a gorgeous surprise. Delicate silhouettes flickered against the bright chaos of the main action, offering pockets of calm. These moments felt like pages from an illustrated book being slipped between scenes.

For Press_052_Beauty and the Beast Northern Stage_Pamela Raith Photography.jpg

For Press_038_Beauty and the Beast Northern Stage_Pamela Raith Photography.jpg

Written by Lucy Kirkwood and devised with Katie Mitchell, this production (first performed at the National Theatre in 2010) is definitely not your average take on Beauty and the Beast. As the narrative finally pushed its way to the centre, Bridget Marumo’s Beauty brought the clarity the show needed. Her presence was warm and steady, with a voice that carried cleanly down the space. Conor McCready gave the Beast a bruised dignity. The traverse staging helped here too. Being so close meant I could track the subtle shifts in his physicality even when he barely moved.

Davey Hopper’s Father was sincere with a comedic edge. Maya Torres as Lettice/Rabbit blended flashes of rage with well timed humour. Lucy Doig (Cecile) and Helena Antoniou (Pink), as the mischievous fairies, attacked the narration with energy and charisma, adding sparks to the ensemble’s meta moments and keeping the pace lively each time the frame reset itself.

But that frame is also where the production lost me. The show lingered so long in its own cleverness before beginning the actual tale that by the time Beauty met the Beast, the fairytale had to fight for the spotlight. The interruptions were witty, yet frequent enough to scatter the emotional arc. The story itself became a guest in its own house.

Still, the craft was undeniable. The costumes were a dream. The performances were charming. And the unpredictable energy of a traverse space was used to full effect. I left entertained, but also wishing the team had trusted the fairytale’s beating heart instead of pausing it every few minutes to check the pulse.

Northern Stage’s Beauty and the Beast is a vibrant, imaginative circus of colour and craft that fills the stage with pure theatrical joy. A production that hits with a difference this festive period.