Disney’s Beauty and the Beast is still magical at Toby’s Dinner Theatre

Jeri Tidwell Photography

Beauty and the Beast truly is, in reality, a tale as old as time … or at least nearly 300 years old, first published in 1740 and written by Gabrielle-Suzanne Barbot de Villeneuve, rewritten and abridged to the version we know today by Jeanne-Marie Leprince de Beaumont in 1756, with variations of the story popping up all over Europe. Research has shown that the tale originated about 4,000 years ago. So, yeah, it is a tale as old as time. But that doesn’t mean it’s a dusty old tale that should be forgotten. Disney made sure of that with its Oscar-nominated 1991 animated feature film (and 2017 live-action remake). Disney brought the animated film to life on the Broadway stage in 1994, earning nine Tony Award nominations and one win for Costume Design. The show has gone on to be performed all over the world, on tour, in community theatres and high schools, and it has returned to Toby’s Dinner Theater in Columbia, MD after its last presentation in 2017.

You know the story — Beautiful Belle is the town oddball because she, gasp, reads books. Meathead Gaston sets his sights on her to make her his wife whether she wants him or not. Belle meets Beast and she exchanges her freedom for her father’s, whom the Beast is holding prisoner for trespassing in his castle. She meets the enchanted staff who are slowly turning into various inanimate objects like a clock, candelabra and teapot, and they try to make her life there as pleasant as possible. She doesn’t know the spell they are all under can be broken if she falls in love with the Beast, actually a prince who was punished for his unkind and arrogant behavior, but their time is running out as the petals of an enchanted rose begin to quickly fall off one by one. When the last petal falls, they are all transformed forever so they need to coach the Beast into behaving like a gentleman in the hope that he can win her over. But Belle learns her father is in trouble and he lets her go, finally showing an act of true love. But unless Belle loves him back, they are all doomed. Will they live happily ever after?

Beauty and the Beast was among the first few shows I saw at Toby’s in 2017, starting with Show Boat. For this production, four of the original cast members have returned to reprise their roles, and it’s always nice to see some familiar faces. David James is appropriately fussy as Cogsworth the clock; Robert Biedermann 125 is Maurice, Belle’s inventor father whose misdirection sets the whole story in motion; Jeffrey Shankle steals his scenes as Gaston’s way-too-faithful ‘manservant’; and Lynn Sharp-Spears is Mrs. Potts, the mother figure to everyone in the castle who gets to warm our hearts and make our eyes tear up a little with the show’s signature song. Each and every one of them has stepped back into these roles without missing a beat. MaryKate Brouillet also returns from the 2017 production, going from one of the Silly Girls to the role of Madame de la Grande Bouche, the opera diva-turned-wardrobe, delivering some truly operatic notes along the way.

Jeri Tidwell Photography

New to the roles of the denizens of the castle are Adam Grabau as Lumiere, Patricia ‘Pep’ Targete as Babette and (for this performance) Dylan Iwanczuk as Chip (a role shared with Julia Ballenger and Elijah Doxtater). In 2017, Jeremy Scott Blaustein was the epitome of perfection as Lumiere, but Grabau has taken the role and made it his own, singing, dancing and high-kicking through his signature song ‘Be Our Guest’. Grabau also has fun showing us Lumiere’s slightly lecherous side as he flirts with Babette and reminisces about the previous women in his life. He’s also the calm to James’ Cogsworth, and he gives Lumiere some real heart as well. Wonderful performance. Targete’s Babette doesn’t have a lot to do, but she brings a lot of sass to the character and her interactions with Lumiere are entertaining. Iwanczuk is also charming as Chip, and he manages to tug on our hearts when he asks his mother if they’ll ever be human again.

Toby’s regular Justin Calhoun is reprising his role from the 2017 production in a way. Then he played the pre-and-post-Beast Young Prince and now he plays both the Prince and the Beast. Calhoun gives a remarkable performance because most of the time he’s covered in hair and Beast makeup, and while his face is visible he really has to act with his body to truly show us the range of emotions the Beast is experiencing, and showing us his emotional progress along the way from the short-tempered creature whom Belle first encounters to the emotional, love-lorn person he becomes after spending time with her, becoming despondent as he lets her go, knowing that this is the end for him and everyone in the castle. Calhoun has played a variety of characters at Toby’s over the years but the Beast really gives him a chance to show so much range in this one performance. And, as always, his voice is powerful and magnificent, bringing a lot of emotion to his songs ‘How Long Must This Go On?’, ‘If I Can’t Love Her’ and ‘A Change in Me’. A really wonderful performance.

Patrick Gover gets to shine as the self-centered Gaston, a major role that lets him have a lot of fun after his more serious leads in Rocky the Musical and Ghost the Musical (and getting to play a little of both comedy and drama as Danny in Grease). It wouldn’t be fair to say Gover is typecast as the muscle-hunk Gaston, but it’s not a lie to say he’s certainly built for the part. Physical attributes aside, Gover’s performance is funny and really embodies the cartoonishness of the animated character while still making him a very real person, turning from buffoon to villain with the greatest of ease. And his voice is also booming as he delivers his egotistical songs ‘Me’ and ‘Gaston’. Even though he is a cad and becomes the true bad guy of the story, Gover is so darned charming he manages to make Gaston an audience favorite.

Jeri Tidwell Photography

Rachel Cahoon makes her Toby’s debut in the role of Belle and she is nothing short of spectacular. From the moment she takes to the stage, it’s like that animated character from the film has truly come to life and is standing before us as a flesh-and-blood person. She looks like that Belle, her performance is natural, never over-the-top, showing us true love for her father, pure disdain for Gaston, and real strength when faced with the Beast for the first time. And her voice. That voice. It’s magical, it’s perfection (to the point that some even wondered if she was lip-syncing to the original recording from the film). There really aren’t adequate words to describe Cahoon’s performance and her singing except to say that she is destined for big things, and if any Broadway bigwigs are in the area, they should not hesitate to give the show look. There aren’t enough superlatives to adequately praise Ms. Cahoon, but director Mark Minnick has certainly found a Belle for the ages.

Speaking of directing — and choreography — Minnick has once again turned out a show that is a well-oiled machine, moving set-pieces and actors on and off stage smoothly, getting in some tight choreo with a large cast in a relatively small space that even includes a kickline at one point, and casting the show to perfection with his newcomers and regulars. The use of the elevated platforms generally works, however depending on your vantage point, some of the stage lights may obscure the actors’ faces as they’re on about the same level at that point. A minor quibble and a situation that is probably unavoidable due to the space, but it should be noted. On the main stage, which is in the round for the uninitiated, Minnick directs and choreographs so that no matter what, especially during musical numbers, the actors will perform to all sides of the theatre so you’re never stuck looking at someone’s back for too long. Minnick knows the space, he knows how to move people and sets around, and it’s always a treat to take in one of his shows. Aiding the production is the Scenic Design by David A. Hopkins, the Lighting Design by Lynn Joslin and the Costumes by Janine Sunday, and I must add the Sound Design by Mark Smedley for this production was perfection, beautifully blending the voices with Ross Scott Rawlings’ orchestra, everyone coming through clear as a bell and never over-powered by the music. There are also some great sound effects for the Beast, a pack of wolves and Gaston’s punches that are perfectly timed, so it is great sound all around.

Of course when you come to a dinner theatre, you expect to have a delicious dinner and the Toby’s buffet does not disappoint. On the menu for Beauty and the Beast are items like Babette’s Broccoli, Gaston’s Glazed Carrots, Mrs. Potts’ Mashed Potatoes, Pasta a la Lumiere, Maurice’s Meatloaf, Cogsworth’s Chicken Coq au Vin, the signature Spinach Phunque, Baked Tilapia, a carving board of ham, turkey and steamship round, steamed shrimp, appetizers and the salad bar with crisp garden fresh greens and toppings plus dessert and an ice cream bar in the lobby.

As with every show, there is a specialty themed drink and for this show it’s the return of The Grey Stuff, which is an Oreo milkshake (with a splash of whipped cream vodka for the adults) topped with thick whipped cream and a candy rose. It’s a delicious Show Stopper.

Attending Toby’s Dinner Theatre is an experience, from the dinner to the show, and this is a show for the entire family. The food is delicious (with Gluten Free, Dairy Free, Vegetarian and Vegan items on the menu), the staff is warm and welcoming, and this production is one of the best with a stellar cast and a bright new star as Belle. Beauty and the Beast may be a tale as old as time, but this production still sparkles and is not to be missed.

Beauty and the Beast runs about 2 hours 30 minutes with one intermission. Note that fog and haze effects are used in this production.

Beauty and the Beast runs through June 16, 2024. Toby’s next production is the hit jukebox musical Jersey Boys (June 12 – September 1).

Disney’s Beauty and the Beast (2024) – Toby’s Dinner Theatre