Beauty and the Beast Jr - Spoiler Free Review

Beauty and the Beast JR
Theatre Bugs/ Adelaide Theatre Academy
TICKETS: https://www.trybooking.com/events/landing/1521411

For the July school holidays, Theatre Bugs and Adelaide Theatre Academy present Beauty and the Beast Jr, which inevitably cuts roughly 75–90 minutes of story, song, dance, and action—be warned: your favourite number may be missing.

Hannah Smith, Emma Dalton and Amelia Rooney return at the helm as Director, Choreographer and Musical Director respectively. They are joined by Assistant Director Gracie Greenrod and student Dance Captain Emma Devine. Together, they deliver some of the more inventive creative choices seen in Adelaide youth theatre this year, particularly in the absence of large-scale sets.

Choreography remains tight across both casts, while still allowing featured performers space to develop individuality without disrupting the overall flow. Rooney’s musical direction is equally strong, resulting in well-rehearsed numbers and music-focused dialogue. Across the board, performers demonstrate a clear understanding of musical cues and entrances.

Baguette Cast - 16^th July, 10:15am

Leading the production, Emma Sayers’ Belle holds her own throughout. Her opening number is simply wonderful, and her dance with Levi Seyfang’s Beast is tight, confident, and polished. Her character work is consistently strong, marking her as a standout performer in this production.

As Maurice, Tabitha Victory delivers a grounded and thoughtful performance, clearly tracking the character’s emotional journey as both father and catalyst. She conveys the stakes effectively, maintaining sincerity throughout.

Initially tentative, Levi Seyfang’s Beast grows steadily into the role, ultimately matching Sayers with a confident and engaging dance in Tale as Old as Time. The JR adaptation limits his vocal opportunities to Something There and the Finale; unfortunately, the latter suffers as the ensemble overpowers the central duet, rendering it largely inaudible.

Bringing strong physicality to the role, Aled Yeoh’s Gaston leans fully into the character’s sleazy bravado, prowling the village with exaggerated confidence. His performance in Gaston is particularly effective, capitalising on the opportunity to showcase both presence and control. In support, Kristopher Sudaj’s Lefou forms an effective comedic partnership with Gaston, enhancing the character’s larger-than-life persona. He leans into physical comedy with well-timed reactions and playful interactions.

Commanding the castle scenes, Izzy Strelan’s Lumiere is vibrant and energetic, using expressive movement and clear physicality to capture the character’s flair. Her confident stage presence helps unify the ensemble, particularly in larger numbers. Providing a strong counterbalance, Sam Kelman’s Cogsworth delivers well-timed humour with precision. His measured performance and clear understanding of the character’s rigidity create an effective contrast to Lumiere’s flamboyance.

At the emotional core, Mia Brown’s Mrs Potts offers a warm and sincere rendition of Tale as Old as Time. Her gentle, grounded approach lends stability to the castle scenes and reinforces the story’s heart.

Adding playful energy, Emma Devine’s Babette is both engaging and technically strong, balancing character work with polished dance execution. Her confident presence contributes significantly to ensemble cohesion. Her son, Chip, played by Emma Fisher, is entirely endearing, capturing the character’s innocence with natural charm. Her clear delivery and engaging presence make her a delight to watch.

Leaning into theatricality, Lauren Thyer’s Madame De La Grande Bouche fully commits to her operatic moment in the castle defence sequence. Her bold choices bring humour and flair, elevating the scene’s heightened style.

Narration duties fall to Evie Jackson, Holly Sanderson, Tyson Hargroves, and Violeta Isaza, who guide the abridged storyline with confidence and clarity, maintaining a brisk 70-minute pace.

Technically, there are some inconsistencies. Lighting cues occasionally leave performers in near darkness, relying heavily on cyc illumination. Sound issues are also present, with intermittent microphone faults and backing tracks sometimes overpowering vocals. Costuming, however, is well-considered throughout, with Belle’s yellow dress standing out as expected.

Croissant Cast -16^th July, 1pm

Taking on Belle, Kenisha Sivaram recovers well from early vocal challenges to deliver a confident and engaging performance. Her characterisation is consistent, building believable relationships across both village and castle settings.

Thomas Wake-Dyster’s Beast presents a measured and thoughtful interpretation of the character. He sits in the role well and builds a believable connection with Belle. He demonstrates a clear understanding of the Beast’s emotional arc. A few hair pins might be what is needed to keep his wig on in future sessions.

With controlled confidence, Henry Cole’s Gaston avoids overplaying the role, instead leaning into a quieter sense of arrogance. His stage presence is strong, and his work within the ensemble creates a lively and cohesive tavern scene. Complementing this, Luna Clear’s Lefou brings a playful and energetic dynamic, embracing the role’s comedic demands. Their shared physicality, particularly in the castle scenes, is well executed and engaging.

Leading the castle ensemble, Claire Saint’s Lumiere is both charismatic and assured, demonstrating strong control of movement and voice, especially in Be Our Guest. Her performance helps anchor the tone and cohesion of these scenes. Balancing this, Jack Wake-Dyster’s Cogsworth maintains consistent character work, with well-judged reactions and a clear sense of structure. His dynamic with Lumiere is effective and well sustained.

Grounding the emotional narrative, Charlotte Venning’s Mrs Potts delivers a warm and sincere performance, allowing quieter moments to resonate. Her presence provides reassurance and emotional clarity within the story, while Isla Barrett’s Chip is charming and expressive, maintaining a natural stage presence throughout. Her consistent characterisation adds a welcome sweetness to the production.

Injecting energy into the ensemble, Alessia De Nitto’s Babette is lively and committed, with strong physicality and evident enjoyment. Her clean execution supports the overall polish of group numbers.

Notably, by the Croissant Cast performance today, many of the earlier microphone issues had been resolved, resulting in a clearer and more balanced sound, although some smaller roles villager roles remained unheard.

Across both casts, the level of commitment and enthusiasm is evident. Despite the constraints of the JR format, the creative team and performers deliver a production that is cohesive, energetic, and thoughtfully realised.

Beauty and the Beast Jr reminds us that its longevity lies not in spectacle, but in heart, humour, and the simple joy of young performers bringing a timeless story to life.

- Andrew Broadbent