Willoughby Theatre Company: Beauty and the Beast - Review by Selina Wong

As a timeless tale and a huge part of my childhood, I went into this production with high expectations—and Willoughby Theatre Company exceeded them in every way. Their exceptional and truly spine-tingling staging of Beauty and the Beast was nothing short of mesmerising. Director Court Cassar should be immensely proud of this masterstroke. From the casting and choreography to the seamless music, lighting, special effects, transformative set design, and incredible makeup and costumes, the production was a magical spectacle from start to finish.

Even before the curtain rose, the audience was drawn in by the iconic enchanted rose suspended above the stage, foreshadowing the magic to come. Tom Kelly’s stage presence and vocal experience were evident from the outset, his portrayal of Beast commanding attention with a powerful and authoritative performance. “How Long Must This Go On?” and “If I Can’t Love Her” beautifully captured the Beast’s vulnerability and transformation, showcasing the emotional depth of Kelly’s voice.

Opposite him, Molly Owen proved a flawless choice as Belle, embodying the character’s compassion, strength, and independence. Her elegance, expressive comedy, and touch of sass reimagined Belle as a modern-day heroine. “Home” was a standout moment, with Owen’s mesmerising vocals completely captivating the audience. Together, Kelly and Owen shared an effortless chemistry that made their relationship both believable and deeply engaging.

Caleb Hamwood hilariously portrayed the narcissistic and repugnant Gaston. His slapstick physicality and pompous demeanour never overshadowed his strong, resonant voice, making him a character the audience loved to loathe. Samuel Dobb, as Lefou, was an absolute delight. From his first entrance, the audience was in hysterics. Dobb perfectly captured Lefou’s immature, over-the-top yet loyal and lovable nature, his confident vocals and comic timing quickly making him a crowd favourite. His dynamic with Hamwood was both genuine and endearing.

Andrew Benson brought warmth and charm to the role of Maurice, his experience evident in a beautiful rendition of “No Matter What.” Jerome Studdy’s Lumière was a personal highlight, strutting across the stage in lace-up boots with flames in hand and a convincing French accent. Luke Davis delivered a standout performance as an anxiety-ridden Cogsworth, providing excellent comedic relief.

Emily Kimpton brought heart to Mrs Potts, her rendition of “Beauty and the Beast” genuinely goosebump-inducing. Alongside her, Mia Manion was utterly charming as Chip, their warmth making every scene a joy to watch. Georgia Kokkoris and Emerson Goodenough were also standouts as Madame de la Grande Bouche and Babette, respectively—Kokkoris’ soprano voice shining in ensemble numbers, while Goodenough’s feisty and playful performance added flair and energy. The Beast truly could not have asked for a better support crew.

The costumes were simply spectacular. Highlights included Mrs Potts’ smoking spout, the bubbling champagne flutes, Cogsworth’s intricate pendulum and golden dial, the hilarious grater, and the inventive “La Fille de la Ville” wardrobe. Studdy’s contribution extended beyond the stage, working alongside Erin Steele as head of wigs, hair, and makeup to bring the enchanted household to life.

The chorus was one of the most talented ensembles I have seen, delivering flawless vocals, boundless energy, and vibrant character work. Their performance in “Gaston” was a true highlight—an absolute feast for the senses—earning a well-deserved extended applause. Sally Dangar’s choreography was dynamic and inventive, with particular standouts in “Gaston” and the hauntingly effective wolf sequence.

The set design was richly detailed, featuring roses, rolling shopfronts, gnarled branches, and a versatile castle staircase that doubled as the dungeon. The elevated West Wing, housing the enchanted rose, was used to great dramatic effect. Lighting and atmospheric smoke brought both the village and castle to life, enhancing the immersive experience—along with a few cleverly executed special effects best experienced firsthand. Musically, the production was in expert hands under Peter Hayward. His direction of the orchestra ensured a seamless flow between eerie, playful, and dramatic moments, perfectly complementing the action on stage.

By intermission, I was already messaging friends and family urging them to get tickets. This is a truly enchanting production for all ages. Congratulations once again to Willoughby Theatre Company on a magical and unforgettable show