This is an idea I've had for quite some time now; and I promised myself I will bring this to life someday. It's an idea for a new stage production of Disney's 1994 Broadway adaptation of Beauty and the Beast. Basically, this production is not only a love letter to the Disney original, but a nostalgic love letter to the days when we, as kids, would go up into the attic and act out tales, using whatever we could find up there to help us tell it.
For this idea, I was largely inspired by two concepts, and coincidentally, they're both themed around Stephen Sondheim. First, and more prominently, is Fiasco Theater's 2014 production of Into the Woods, which used a cast of ten, only one accompanist, and a relative "attic" feel to the whole thing (i;e the Wolf being represented by a taxidermist wolf head, a pair of old drapes used for the Stepsisters' costumes, Rapunzel's long hair being a spool of yarn, etc.) I've heard that @MANEATINGWREATH has seen this particular production, so if there's any other concepts I missed for this production, let me know.
The other concept that inspired me was John Doyle's takes on Sondheim: his 2005 interpretation of Sweeney Todd and his 2006 interpretation of Company, wherein the actors also served as their own orchestra.
Basically, my idea is to take this "attic" concept and run with it to the moon and back. The atmosphere should feel very informal. There's no curtain. Right off the bat, the set is open to us. It's even designed as an old attic, a giant circular window standing tall upstage.
There are bits of old junk and things strewn about, just like a regular attic: a dusty old grand piano, a dusty drumset, beanbags, rotating drawers, etc. But, unlike most attics, this one features an old Cantilever ladder hiding somewhere in the corner.
Along old racks sit the various bits of clothing that the actors use as costumes: old coats, hats, dresses, etc.
Speaking of the actors, the show begins very informally: the actors come on stage from all directions, admiring the attic and all it contains. As showtime approaches, they prepare their "costumes", those who play instruments prepare them (the pianist sweeps off the dust of the grand piano, the drummer makes sure the drums can still produce sound, etc.). All in all, the show should feel both intimate and informal, as if the actors really are children acting out stories in their attic.
In fact, here are a few notes I'd make for staging and such like.
CAST & ORCHESTRA
For this idea, I was largely inspired by two concepts, and coincidentally, they're both themed around Stephen Sondheim. First, and more prominently, is Fiasco Theater's 2014 production of Into the Woods, which used a cast of ten, only one accompanist, and a relative "attic" feel to the whole thing (i;e the Wolf being represented by a taxidermist wolf head, a pair of old drapes used for the Stepsisters' costumes, Rapunzel's long hair being a spool of yarn, etc.) I've heard that @MANEATINGWREATH has seen this particular production, so if there's any other concepts I missed for this production, let me know.
The other concept that inspired me was John Doyle's takes on Sondheim: his 2005 interpretation of Sweeney Todd and his 2006 interpretation of Company, wherein the actors also served as their own orchestra.
Basically, my idea is to take this "attic" concept and run with it to the moon and back. The atmosphere should feel very informal. There's no curtain. Right off the bat, the set is open to us. It's even designed as an old attic, a giant circular window standing tall upstage.
There are bits of old junk and things strewn about, just like a regular attic: a dusty old grand piano, a dusty drumset, beanbags, rotating drawers, etc. But, unlike most attics, this one features an old Cantilever ladder hiding somewhere in the corner.
Along old racks sit the various bits of clothing that the actors use as costumes: old coats, hats, dresses, etc.
Speaking of the actors, the show begins very informally: the actors come on stage from all directions, admiring the attic and all it contains. As showtime approaches, they prepare their "costumes", those who play instruments prepare them (the pianist sweeps off the dust of the grand piano, the drummer makes sure the drums can still produce sound, etc.). All in all, the show should feel both intimate and informal, as if the actors really are children acting out stories in their attic.
In fact, here are a few notes I'd make for staging and such like.
CAST & ORCHESTRA
- Many of the Ensemble roles would be filled by the main characters, since this production would feature a relatively small cast. For example, Mrs. Potts, Babette and the Wardrobe would double as the Bimbettes (or "Silly Girls", as they are referred to in the libretto) and either Cogsworth or Lumiere would double as Monsieur d'Arque. Of course, when not in character, the cast would also portray roles like the Villagers and the Wolves.
- The two major accompanists would be the pianist and the drummer. As for minor accompanists, I'd have someone on violin, someone on reeds (flute, oboe, clarinet) and someone on trumpet. The bass part could easily be filled in by someone, maybe a cast member, playing the guitar. Of course, other cast members would fill in with their own instruments at certain points...provided that they can play.
- For the violinist, I'd prefer to have this be a female role, because I'd want the violinist to double as the Enchantress. I was inspired for this casting choice by seeing how the likes of Lindsey Stirling and Mairead Nesbitt always move about when they play; and seeing how the Enchantress is portrayed at the Beauty and the Beast show at DHS, as a dancer, seemingly moving about on the air. I can just imagine the transformation sequences and how they'd be played out.
- So, the way I see it, the show would involve the talents of 16 people: Belle, the Beast, Gaston, Maurice, Lefou, Lumiere/Monsieur d'Arque, Cogsworth/Monsieur d'Arque, Mrs. Potts/Bimbette, Babette/Bimbette, Madame de la Grand Bouche/Bimbette, Chip, Pianist, Drummer, Violinist/Enchantress, Reedman, and Trumpeter.
- Dealing with basic costume ideas first, most of the cast will wear some sort of monochrome outfit; adding on to their costumes by what's in the "attic". I'm thinking some sort of black top and either jeans or a black skirt/pants.
- One of the exceptions in the cast would be Belle, who wears an average blue dress with a white coat or sweater. And, of course, her iconic yellow ballgown could easily be represented by any old yellow prom gown or such like; perhaps accessorized with an old pair of white opera gloves.
- The Beast would wear a black T-shirt, with three claw marks going across it diagonally from the left. His jeans would be ripped out, with holes. To emphasize his "Beast" nature, I found a perfect accessory. One of my friends has a cap, festooned with actual deer antlers. I think that would work perfectly! And also, I'd find a tan fur rug, add a frayed string, and there, we'd have a cape. For the Beast's formal suit, I'd still have him keep the fur cape and the antler cap, but change into a black dress shirt, black dress pants and a golden sash going down diagonally from the left. When the Beast transforms back into a human, I'd have him keep his torn outfit on, but when he comes back out onstage for the Finale, he'd wear his formal suit, this time, with a golden cape. And of course, he and Belle would wear crowns.
- Gaston & Lefou would wear modern-day hunting outfits: camouflage jackets, orange caps and jeans. So what if it's anachronistic? The show is supposed to be presented as if it were staged in an attic, remember?
- Lumiere & Cogsworth would wear long Dickensian coats and top hats, possibly accessorized with scarves or such like. And, of course, when in Enchanted Object form, they'd actually carry a candelabra and mantle clock, respectively.
- Mrs. Potts would accessorize with whatever an elderly woman would wear: a shawl, perhaps? Of course, she'd push around an old tea-cart, with a teapot sitting prominently upon it.
- Chip, played by a young adult, a la Jack in Into the Woods, would wear a Newsies-esque cap and a vest. Of course, a little teacup would sit next to the teapot.
- Babette would go with the black-skirt variation of the monochrome outfit, accessorized with a white apron. And if you guessed she'd carry around an actual featherduster, you're right!
- Madame de la Grand Bouche would wear some sort of fancy clothing article: an old gown or something. As an Enchanted Object, she'd stand behind a bureau on wheels, and open and close one of its drawers to simulate speech.
- Borrowing a concept from Fiasco's Into the Woods, the Bimbettes would be represented by the three women standing behind drapes.
- Whoever plays Monsieur d'Arque would add a dark, black cloak or cape to his outfit.
- The Villagers would be represented by the cast putting on long Dickensian coats or shawls or cloaks.
- Whoever plays the Wolves would drape similar fur rugs to the Beast's, this time gray in color, around their bodies, and lean forward in their choreography, much like the lionesses in The Lion King on Broadway.
- The Violinist/Enchantress would also follow the black-skirt variation; but when the time comes to play the Enchantress, she'd add a long hooded cloak to the ensemble.
- The transformations would be staged rather simplistically: As the Enchantress moves about the stage, playing her violin, any available Cast Members would link arms, raise them high and move about in a circle while the actor playing the Beast "transforms". Also, for the first transformation in the Prologue, the actor would wear some sort of golden cloak to hide the claw-marks on his T-shirt, or at least, stand back-to.
- Speaking of the Prologue, let's talk about that. Again, the actors would enter simultaneously, admire the attic, prepare their costumes and instruments, all that good stuff. One of them would find a book of Beauty and the Beast, and go over to a rocking chair stage right, and "read" from it during the Prologue. The piano would play the first two low chords, followed by the rest of the musicians joining in as the Prologue starts.
- The opening village scene, represented in the opening number "Belle", would be staged using a heavy amount of drawers and bookcases, representing houses, merchants' stands and such like. Of course, the bookshop would be represented by the bookcases surrounding Belle and the Bookseller. As a nice bonus, I'd have Maurice double as the Bookseller. It makes sense that the only person in the village who supports Belle's love of reading should be played by the one who knows her best of all: her own father.
- When Lefou first appears, ready to catch the bird Gaston shot, I'd have a cast member stand atop the Cantilever ladder and drop a rubber chicken.
- Maurice's invention would be some random assortment of junk, the same kind of assortment you might find in your own attic.
- The Cantilever ladder would serve as the West Wing; covered in dust and old rags. Of course, you'd find the Rose and the mirror there on a small table. The ladder would also serve as the dungeon, with Maurice sitting on the platform where the ladder is.
- An old door would also be in use somewhere; separating Belle's room from the castle hallway. I'd use this because I want the argument Belle and the Beast have about dinner to be on two sides of the door, as it is in the film, instead of it all taking place in her room, as the musical's libretto describes it.
- I'd certainly have some sort of "spectacle" happen during "Be Our Guest", mostly involving the actor/musician combo. There's not a lot of spectacle to deal with when you're in an attic.
- The library would be represented by those bookcases standing up-stage, and a couple of beanbags sitting in front of them. This, of course, would be where Belle and the Beast sit to read.
- I would cut "A Change in Me" from this production. It was added in later in the run; so it can be removed just as easily.
- The climactic fight scene would mostly take place on the Cantilever ladder. This is important, because Gaston dies by falling off the castle. I specifically chose the Cantilever ladder because of the opening in its side, perfectly allowing Gaston to fall off. Of course, he would land on top of the beanbags, arranged in a line so he doesn't actually get hurt. Plus, according to the libretto, Gaston begs the Beast to "pull him up" before plunging the knife into him, so having the opening would definitely help there.
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