Beauty and the Beast, a tale as old as time, reimagined at Music Hall

Photo by Matthew Murphy

From Oct. 28 to Nov. 2, the traveling production of Beauty and the Beast enchanted Kansas City’s Music Hall, saturating the opulent venue with Disney magic and Broadway-caliber polish for the first time in 25 years. From the first notes and flash of light, it was immediately apparent that this presentation of Beauty and the Beast would be unique. Massive set pieces, ingenious projections, and extravagant costumes transformed the well-known tale into a magnificent, theatrical spectacle that kept its heart intact.

Kyra Belle Johnson’s Belle had the voice of a true Disney princess: sweet, clear, and distinct from the film’s version while still feeling timeless. She was joyful and curious, especially once Belle showed her obstinate nature. Her act two solo, “A Change in Me”, which seemed both grounded and ethereal, was her most extraordinary vocal performance. In quieter moments, I occasionally yearned for a little more emotional weight, particularly when Belle was dealing with loss or uncertainty, but Johnson’s earnestness and composure carried her through. Her chemistry with the Beast was touching, and her yellow gown in the ballroom scene was as breathtaking as one could hope, swirling through fog as the orchestra swelled during “Beauty and the Beast”.

Kyra Belle Johnson as Belle. // Photo by Matthew Murphy

If Belle was the show’s heart, Fergie L. Philippe’s Beast was its soul. He captured every layer of the role, moving from fury to tenderness, arrogance to aching vulnerability, with ease. His show-stopping act one conclusion, “If I Can’t Love Her”, left the crowd in stunned calm before erupting in cheers. In the second act, Philippe’s evolution from the Beast into a nervous boy falling in love for the first time was irresistibly human. Furthermore, the final transformation scene was astounding with Philippe spinning midair. The audience gasped as the timing, lighting, and mechanics all came together in a moment of pure stage sorcery.

Stephen Mark Lukas was a perfect physical fit for Gaston, all polished grin and puffed chest. Early on, his performance sometimes wavered between self-aware parody and genuine villainy, but by the time “Gaston” began, he had found the balance. With its flawless mug choreography, precise timing, and humorous lifts, that number was among the best of the evening. His last moments were unexpectedly grandiose due to the conviction and spectacular staging of his death scene.

Harry Francis’s Lefou was a full-on burst of physical comedy, perfectly throwing himself into every tumble, spin, and reaction. Every gesture was intentional, landing laughs without ever feeling forced—partially due to the fact that the timing was spot on, and his energy never dipped. Beyond the humor, though, Francis impressed with surprisingly strong vocals and sharp dance ability, giving Lefou more dimension than the typical sidekick role usually receives. He kept up effortlessly through the demanding choreography, matching Gaston’s swagger with his own frantic, lovable charm. While the diction of his voice sometimes got lost in the hall’s acoustics, his version of Lefou felt fresh and inventive with a perfect mix of slapstick and skill.

Fergie L. Philippe as the Beast. // Photo by Matthew Murphy

Javier Ignacio as Cogsworth was a joy to watch. He added warmth and comedy while capturing the character’s prim, rule-abiding demeanor. His interactions with the other castle inmates were captivating, and his physical humor was acute. Ignacio’s role in “Human Again” showcased a beautiful vocal depth, while his singing and tapping in “Be Our Guest” gave a dynamic spark.

Any attendee would have though Danny Gardner’s Lumière walked straight out of the animated movie. Although the real flickering flame on his candles was a striking addition, his captivating stage presence was what truly made an impression on the audience. With flawless comedic timing, Gardner portrayed Lumière as a flirtatious, lively host. “Be Our Guest” was a showstopper that earned a mid-show standing ovation—between the kickline of dishes, the feathers and silverware, and the sheer coordination, it was one of the best ensemble numbers I’ve seen. His exaggerated physicality, including those deliberately over-the-top pelvic flourishes, gave the role a cheeky, mischievous energy that perfectly matched the original movie’s tone.

Lumiere, Belle, and Company in “Be Our Guest”. // Photo by: Matthew Murphy

Kathy Voytko‘s Mrs. Potts radiated warmth and quiet insight. She grounded the castle sequences with composure and subtle humor, and her costume was exquisite. Her chemistry with Chip, played by Beatrice Goddard Beggs, whose floating body was a baffling stage trick, was particularly endearing. The audience cheered more boisterously than they had over the evening when Chip finally came to life. 

Kevin Ligon‘s portrayal of Maurice was another highlight. With a blend of tenderness and zaniness that felt natural for the role, he rolled across the stage on his own invention of a bizarre scooter. His scene of the wolf attack, augmented by sound design and innovative projections, thrillingly brought the Disney fantasy to life.

The production’s visual design even deserves special recognition. Ann Hould-Ward’s costumes are a triumph, from Babette’s glittering feathers to Belle’s iconic yellow ballgown. The transition from enchanted objects to humans was handled beautifully, with each character’s final look still reflecting their previous forms—Cogsworth’s marbled coat from the green marble clock was noteworthy and brilliant. David H. Lawrence’s hair and makeup design was delightfully magical, especially in the Beast’s intricately layered makeup. The lighting by Natasha Katz and projections by Darrel Maloney constantly transformed the stage, from the rustic village to the floating, shadowed castle. The library scene, heartfelt but straightforward, was one of my favorite moments, as Belle read King Arthur to the Beast and their connection quietly deepened.

Stephen Mark Lukas as Gaston and Harry Francis as Lefou // Photo by Matthew Murphy

One of the most charming moments came from the audience itself. When Belle disobeyed the Beast, a little boy shouted “WHAT?” at precisely the right time. Philippe immediately echoed him with a perfectly timed and emphatic “What did you say?” in character, sending the audience into laughter. It was a small but unforgettable example of the spontaneity that makes live theatre so special.

Directed and choreographed by Matt West, this production of Beauty and the Beast strikes a rare balance between spectacle and sincerity. The performances are energetic and caring, and the music and visuals are magnificent. Although there were a few instances where finer diction or greater emotional depth would have been helpful, the show as a whole was simply enchanting.

By the end of the night, as the final rose petal fell, it was clear that the KC crowd was moved by the rendition, and the city could not have asked for a more lovelier reminder that some stories never lose their shine, even decades after its initial premiere.