Beauty and the Beast - Character Descriptions Binder

Character Descriptions

Table of Contents Belle pp. 3-5 The Beast/Prince Adam pp. 6-8 Gaston pp. 9-11 Mrs. Potts pp. 12-14 Lumiere pp. 15-17 Cogsworth pp. 18-20 LeFou pp. 21-23 Maurice pp. 24-26 Babette pp. 27-28 Chip pp. 29-30 Madame Le Grande Bouche pp. 31-32

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Paige O’Hara Susan Egan Emma Watson

One of the best-loved heroines in the Disney canon, Belle epitomizes many of the values that we all strive toward: compassion, dignity, warmth, bravery, intelligence, and independence. Given these qualities, one might mistakenly view Belle as a static character; after all, she has already developed so many outstanding traits…why should she change in any way? Yet, Belle is dynamic. Though the changes that the Beast undergoes throughout the story are more overt, dramatic, and noticeable, Belle too is on a journey, and it is not defined solely by her growing feelings toward the Beast. Rather, her three major numbers – “Belle,” “Home,” and “A Change in Me” – form a complete arc. True to her intelligence, Belle herself is aware of this arc and reflects on her own journey throughout the narrative. “Belle,” the opening number of the musical, memorably conveys the title character’s frustrations with small-town life and her desire for adventure and excitement. Unbeknownst to Belle, a great adventure awaits her, though it is an adventure that will test her in myriad ways; for Belle, earning a “happily ever after” will require a tremendous personal effort. In “Home,” she reflects on whether she took life in the village for granted, and though she initially finds herself wishing she could return to that life, she wisely realizes that the problems she faced in the opening number would still be waiting for her upon her return. Thus, she must adapt to her new situation (and her new environment), and, as she did in her former life, she must learn to make the best of difficult circumstances; now, she must do so without the love and guidance of her father. “A Change in Me” marks the culmination of her reflections and she realizes that despite (or perhaps because of) the trials she has endured, she can face the future with greater optimism, clarity, and confidence than she felt in Act 1; though still an idealist, she now understands that romantic dreams are ultimately less important than the concrete realities of growing up, forging meaningful relationships with others, bringing out the very best in them, and allowing them to help us discover the very best in ourselves. Her adventure was so rewarding because it was so personal. In addition to the qualities and character arcs listed above, Belle is noteworthy for her patience and adaptability. She is critical of small-town life

but she never criticizes the villagers themselves (despite their incessant reproaches throughout the opening number). She good-naturedly endures the unwanted advances of Gaston and the bullying of the Beast, coping by way of an affable sarcasm rather than outright hostility or rudeness toward either suitor. Moreover, she finds ways to make life enjoyable whatever her circumstances, whether it is by borrowing books in the village, befriending the enchanted objects in the castle, et cetera. The actors playing Belle should strive to help the audience trace Belle’s story arc; this means embracing the unique challenges of each of the three numbers listed above, and essentially, “letting the audience in” on what Belle is thinking/feeling, both in those moments when she is singing and speaking, and in those scenes when she is silently reflecting or reacting. Members of the audience will already have strong feelings regarding how Belle should be represented, but they may underestimate just how much Belle grows in this story; ideally, the actors will be open to discovering their own unique approaches to embodying Belle’s growth in the hope of illuminating her character development. The actors playing Belle will also need to bring out Belle’s evolving feelings for the Beast in a convincing way. One of the supreme achievements of the 1991 film is that the romantic relationship between the two characters seems utterly believable despite emerging over a short span of time (the film only runs 84 minutes, and the Beast and Belle do not meet until ¼ of the way through). The stage show allows more time/space for the relationship to emerge and grow, but it is still necessary for performers playing the two title roles to bring out the depth of feeling that develops between the two characters over the course of a relatively short interval. The actors playing Belle should consider these essential questions: why does Belle choose to look into the Beast’s heart, what does she discover about him (and about herself) by doing so, and how does it foster her profound personal progression from girlhood to womanhood? Basics: Mezzo/Soprano; Moderate/Strong Dancing; Physical Poise; Strong Acting Skills to Convey the Arc Outlined Above

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Robby Benson Terrence Mann Dan Stevens

Though the Beast receives “second-billing” in the title, Howard Ashman – the lyricist on the 1991 film – considered him the protagonist of the story. This is likely due to the fact that the Beast’s character arc is so dynamic; as noted above, he goes through much more overt and noticeable changes than Belle. The solo number written for the character in the stage adaptation – “If I Can’t Love Her” – epitomizes the Beast’s essential struggle: Belle is so easy to love given her beauty and grace, her incredible heart, and her many other outstanding qualities, but the Beast comes to realize that his own negative traits and personality flaws inhibit him from appreciating her essential goodness. Rather than try and love her, his first instinct is to force her to connect with him, and this only drives her further away (to the point that she must physically flee his presence at the end of Act 1). Thankfully for the Beast, Belle’s remarkable openness and courage result in his being granted a second chance to form a genuine connection with her, and to realize that he must try to become a better version of himself if he is to earn her trust, her friendship, her affection, and eventually, her love. Among the countless things the Beast learns from Belle, perhaps the most noteworthy is the importance of making sacrifices for those you love: just as Belle was willing to give up her freedom and her future to save her father, the Beast gives up what he believes will be his last chance at happiness and humanity when he allows Belle to depart the castle (notably, in both instances, Maurice’s life is at stake, which underscores that the Beast has learned from Belle’s example…) The other key dramatic moment in the Beast’s development is when he spares Gaston’s life despite the hunter’s brutal attack; note that in the 1991 film, this moment is underscored by the Enchantress leitmotif, as the Beast sees his former self (a cold, petty, and cruelly selfish young man) in Gaston. Having forgiven himself and become a better man, the Beast forgives his enemy and grants him the chance to live (and to be better). Again, Belle’s influence at this key moment is palpable. The obviousness of the Beast’s growth might make his arc seem somewhat “self-evident,” and yet, the character poses several challenges, the most obvious of which relate to his “hybrid” status as a man who has become an animal. The 1991 film uses the medium of animation to trace the softening of the

Beast as he learns to overcome his worst character traits (temper, selfishness, aggressiveness, and pettishness) and reconnect with his lost humanity through his growing love of Belle; notably, his movements are much more feral in the first half of the film (he walks on all fours in most of the early scenes, wears minimal clothing, and his fur repeatedly stands on end like an animal ready to attack). Conversely, the second half of the film has him walking on two legs, dressing in full garb, and essentially comporting himself like the self- conscious and sweet-natured “gentleman beast” of the original faerie tale. The actors playing the Beast thus have some unique physical challenges that they will need to consider: how can one physically embody the feral qualities of the character while still conveying that a human being exists beneath the animal-like exterior? It is a vocal challenge as well: Robby Benson’s masterful performance in the animated film sees the Beast’s voice evolve from a harsh, raspy growl to a more gentle, contrite intonation. Perhaps the ultimate balance that must be struck with the character relates to his initial “beastliness”: his ferocity and potential for cruelty are important parts of his character, though these dramatic traits are balanced out by more endearing (and perhaps even comical) character flaws: the Beast can be peevish, immature, and sulky (consider his whining about Belle’s “being so difficult,” or his moodily rolling his eyes whenever he realizes she has the high ground in their arguments). There is the potential for delightfully comedic moments with the character prior to his deciding to become a better man, but these comedic moments must not undermine the animalistic qualities. The ways in which the actors play off Belle and the enchanted objects will go a long way in helping them to find that balance. Basics: Baritone; Moderate Dancing; Strong Physical Presence; Strong Acting Skills to Convey the Arc Outlined Above

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Richard White Burke Moses Luke Evans

When considering what makes Gaston such a memorable villain, most people immediately note the ironies surrounding the character: he is the villain of the story, but he is also the town hero; he is handsome and charismatic (and thus magnetic if not likeable), whereas the Beast (the protagonist) is ugly, brooding, and initially quite unlikeable (yet somehow more sympathetic, even from the start); et cetera. It is important to frame Gaston in relation to the Beast, not simply because of how Gaston contributes to the “beauty is found within” theme, but also because the story directly connects the two characters. Like the young Prince Adam, Gaston is “spoiled, selfish, and unkind”; his memorable assertion that “No one says no to Gaston!” reminds us of what led to the prince’s downfall: having always gotten his way, Prince Adam was unwilling to acknowledge the needs of others, and unable to accept the possibility that he might be held to account for his selfish actions. Being transformed into the Beast sets Prince Adam on a journey toward introspection, contrition, and redemption, but Gaston is utterly incapable of turning inward and trying to better himself. This might be an indication of his lack of intelligence, but it may simply be an example of his tendency to focus exclusively on surface-level matters. Captivated by Belle’s external beauty, he ignores her even more attractive personal traits (including her intelligence and her compassion). Gaston’s blissful unawareness of Belle’s disdain toward him reinforces his obliviousness to the fact that they are utterly incompatible, which sets up yet another irony: though he proves to be a despicable villain by the end of the story, Gaston is initially a very funny character. Notably, his additional number is not an introspective sung soliloquy like “Home,” “A Change in Me,” or “If I Can’t Love Her,” but rather, the hilarious and self-indulgent comedy song, “Me.” Gaston’s increasing obsession with marrying Belle has nothing to do with Belle and everything to do with himself: he needs to marry Belle to prove to himself (and to everyone else) that he always gets what he wants. Similarly, Gaston’s memorable stoking of the townspeople’s fears in the lead-in to “Mob Song” has nothing to do with any potential threat he perceives in the Beast; rather, it stems from Gaston’s personal outrage when Belle speaks of the Beast with tenderness and affection. Whatever his lack of intelligence, Gaston detects

Belle’s feelings for the Beast, and the notion that she would show love toward a deformed monster is the proverbial breaking point. Killing the Beast would allow Gaston (a) to eliminate a rival suitor, (b) to assuage his wounded pride, (c) to hurt Belle in retribution for her spurning him, and (d) to reaffirm his status as the town hero. Is it any wonder that he is almost fanatical in his pursuit of the Beast, to the point that it ultimately costs him his own life? As in the case of the Beast, the primary challenge facing the actors playing Gaston relates to balance: what is the proper balance to strike between the hilarious and horrible elements of his character? Did Gaston have the potential for blackmail, coercion, and mob violence from the very start of the story (when he was essentially an overbearing narcissist rather than a murderous sadist), or does he develop these traits as a result of his setbacks and failures? Another debatable point: in keeping with his lack of introspection, it is uncertain whether Gaston ever realizes that he has become the villain of the story. The 2017 adaptation (which presents the character more sympathetically) makes it clear that Gaston still views himself as the hero during the raid on the castle, while the 1991 film implies that Gaston has knowingly embraced his worst impulses, including deliberate cruelty. The medium of animation helps to convey this: in every scene subsequent to the song “Gaston,” the character is drawn standing or sitting in shadows, with dark circles appearing around his eyes and face. Notably, Gaston is obscured by shadows in his very first appearance in the film (when LeFou retrieves the duck he has just shot), and Gaston is ultimately consumed by shadows throughout the middle and latter parts of the story. Basics: Baritone; Strong Comic Timing; Strong Physical Presence; Strong Acting Skills to Convey the Arc Outlined Above

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Angela Lansbury Beth Fowler Emma Thompson

The narrative of Beauty and the Beast revolves around the title characters, and Gaston drives the conflict in the second half of the story, but Mrs. Potts is the heart and soul of the piece. Is it any surprise that she sings the title number? Angela Lansbury was initially hesitant to record the song, skeptical she could do it justice, though she later reflected “[W]hen Disney showed me the drawings for the snuggly, beaming little Mrs. Potts, I said to myself, ‘I knew this kind of little Cockney lady when I was growing up in London,’ and from that memory is exactly where I found her voice.” By singing “Beauty and the Beast,” Mrs. Potts demonstrates her fundamental wisdom and her awareness of how the two title characters have grown over the course of the story, which underscores some of her essential character traits. Insightful and observant, she is the first character to note that Belle’s challenging of the Beast is bringing about positive changes in “the master’s” character; she also immediately detects Belle’s adaptability, which may account for why Mrs. Potts is the most hopeful of the three lead servants regarding the potential breaking of the spell: she knows that Belle has the qualities necessary to find hope, happiness, and perhaps love, even within the gloomy confines of the castle. Though “Something There” is a group number, it somehow feels like a Mrs. Potts number given that she is the first to detect that there is “something there” between the two lead characters. Consider that in the 1991 film, the lead-in to the number is the silent breakfast scene in which Mrs. Potts and Chip serve Belle and the Beast oatmeal, and the Beast tries to improve his horrible table manners while Mrs. Potts looks on encouragingly. In considering Mrs. Potts’s astuteness, the phrase “a mother always knows,” comes to mind. Certainly, Mrs. Potts’s maternal warmth is her most memorable character trait, and she is a mother figure to both Belle and the Beast (in the case of the former, the nurturing and encouraging mother; in the case of the latter, the scolding and chastising mother). She gets to play both roles in relation to her actual son, the sweet-natured yet mischievous Chip. Her parental role even emerges in her relationship with Lumiere and Cogsworth, as she is the voice of

reason and patience during their endless squabbles. She is likewise the voice of hope, as Cogsworth and even Lumiere frequently resign themselves to the belief that the spell will never be broken. Mrs. Potts does not have the luxury of wallowing; she is too much of an optimist and too diligent to give in to despair and indolence. Mrs. Potts ultimately combines the best traits of Lumiere and Cogsworth; like Lumiere, she is warm, encouraging, hospitable, and more likely to follow her own conscience than an arbitrary rule set by “the master.” Like Cogsworth, she is hard- working, loyal, efficient, and determined to fulfill her duties to the household and “the master.” As a result, Cogsworth and Lumiere are both inclined to defer to her and to trust her judgment. The actors playing Mrs. Potts should consider ways in which to convey her essential maternal love and wisdom while simultaneously demonstrating that these qualities will manifest themselves in different ways based on context: the way in which she “parents” Belle is very different from how she “parents” the Beast, or Chip, or Lumiere, et cetera. Similarly, they should consider how to actively convey Mrs. Potts’s insight into how the love story is unfolding, even in those moments when Mrs. Potts is more of a passive observer of that story; in other words, how shall we convey to the audience that Mrs. Potts “gets it” even in those scenes when she is not actively participating in the dialogue? For Mrs. Potts, the little things matter most, and her “interventions” in the relationship between Beast and Belle are deliberately subtle and gentle: little nudges in the right direction rather than the more grand romantic professions promoted by Lumiere and Cogsworth. Basics: Alto/Mezzo; Strong Vocals to Sing Title Number; Character Acting; Cockney Accent

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Jerry Orbach Gary Beach Ewan McGregor

Lumiere’s vivacious and suave personality is based partly on the screen personas of two beloved French actors who found great success in American cinema: Maurice Chevalier and Charles Boyer. Chevalier started his career as a singer and is remembered mainly for his roles in film musicals, including Gigi, for which he won an Oscar; Boyer became famous for playing romantic leads in dramatic films and served as the inspiration for the Looney Tunes character Pepe Le Pew. Like Chevalier, Lumiere is a “song and dance man” and he embraces the conventions of classic stage and film musicals by turning “Be Our Guest” into an elaborate production number. Like Boyer, Lumiere epitomizes the polished and debonair traits associated with flirtatious French gentlemen in American films. Lumiere’s romanticism colors his view of the situation between Belle and the Beast; he is 100% convinced from the moment Belle enters the castle that “she has come to break the spell,” and he confidently asserts that the two characters will fall in love instantly. Similarly, Lumiere specializes in grand, romantic gestures; he is the one who suggests that the Beast gift the castle library to Belle, and he is largely responsible for organizing the dinner and ballroom scene (recall his line from the 1991 film: “There will be music! Romantic candlelight…provided by myself, of course!”) As such, Lumiere is the Beast’s closest confidante regarding the courtship of Belle. Lumiere’s emphasis on the grand, romantic elements of love provides something of a contrast to the more subtle, quiet, and bittersweet elements of the central love story (the elements that Mrs. Potts draws attention to). Still, it would be wrong to say that Lumiere places style over substance; his benevolence is arguably an even more important character trait than his romanticism or his theatricality: he immediately offers Maurice warmth and hospitality, and he encourages the Beast to give Belle a comfortable room and to console her when she is weeping. Moreover, in the 1991 film, there is a subtly beautiful moment when he registers joy at lighting the way up the stairs so that Belle can find her father. These gestures stem purely from his compassion for Belle and her father. Similarly, despite his flamboyance, his advice to the Beast is always kind, sound, and gentle.

In addition to his paternal mentorship of the Beast, Lumiere’s most important relationship is his friendship with Cogsworth. The two are foils for one another: whereas Lumiere is laid- back, rebellious, and playful, Cogsworth is rigid, obedient, and haughty. The Broadway show fleshes out the relationship between the two by extending some of their dialogues and highlighting how Lumiere is invariably able to get the best of, undermine, or simply “tick off” Cogsworth through his wittiness and repartee. The show likewise adds more time and depth to Lumiere’s romantic relationship with the charming feather duster, Babette (Fifi in the original film). The two engage in several comically coquettish scenes during which they play coy and attempt to make each other jealous. Actors playing Lumiere should consider how to frame his romanticism and theatricality in relation to his genuine fears that he may never be human again; is his fondness for music, fine cuisine, and dance a “coping mechanism,” or does he genuinely believe in the redemptive power of these elements (and in their power to stimulate romantic feelings in Belle and the Beast)? Similarly, it is imperative to convey that Lumiere’s kindness runs deep, and that he is not merely a caricature of a lascivious Frenchman (he is not Disney’s version of Pepe Le Pew). Finally, there should be a wonderful sense of knowingness during “Be Our Guest,” which is by far the grandest number in the show; Lumiere is staging this number for Belle, but there are other “guests” that are being invited to share in the joy of this performance, and Lumiere would never let something as trivial as the “fourth wall” stand in his way… Basics: Baritone/Tenor; Strong Comic Timing; Strong Dance Skills; Character Acting; French Accent

1991 Animated Film 1994 Broadway Show 2017 Live Action Film David Ogden Stiers Heath Lamberts Ian McKellan

The traditional caricature of the English butler emphasizes their dry sarcasm, competence, reserve, and stiffness (as epitomized by P.G. Woodhouse’s immortal character Reginald Jeeves, or Sir John Gielguld’s Oscar-winning portrayal of Mr. Hobson in the comedy film Arthur). Cogsworth undoubtedly aspires to these ideals and would love to achieve the traditional butler’s level of aloofness, but he cannot even come close because of his ineptitude. He is more of a Malvolio than a Jeeves (i.e., the butt of the jokes rather than the detached observer making sarcastic comments). Granted, this is not entirely his fault, for his fellow servants pay him absolutely no mind despite his ostensibly being in charge. Is it any wonder that he is perpetually frazzled, flustered, and fretful? Still, his most memorable line in the story – a line that was actually improvised by the great David Ogden Stiers – epitomizes the dry wit of an English butler: when the Beast inquires as to what he might give to Belle as a token of his feelings for her, Cogsworth responds: “Well, there’s the usual things: flowers, chocolates, promises you don’t intend to keep…” Despite being outwitted and outshone at almost every turn by Lumiere, Cogsworth is certainly not lacking in drollness (nor in cynicism). Cogsworth’s pompous and pedantic personality is something of a coping mechanism: he cannot control having been turned into a clock, but he can assert control over the household and thus feel some sense of autonomy in spite of the helplessness of the servants in the face of the Enchantress’s spell. This is especially emphasized in the Broadway show, for in his most vulnerable moments, Cogsworth conveys to Mrs. Potts and Lumiere that he is terrified at the thought of never regaining his humanity. These moments are always either preceded or followed by his ordering his fellow servants about and reminding them that they have duties to fulfill. Even if the castle is cursed, Cogsworth will ensure that things run like clockwork, if only to preserve some sense of normality. Cogsworth is also the servant who knows the most about the castle’s history and décor, which again seems to be a source of comfort for him: the castle may have been transformed by a spell, but its proud history can never be lost.

In the 1991 and 2017 films, he is the one to mobilize the servants in defense of the castle during “Mob Song,” again highlighting his connection to the space. Though Cogsworth is a stickler for following the rules and is far less willing than Lumiere and Mrs. Potts to stand up for what he knows is right (e.g., his willingness to deny Belle dinner because of “the master’s” orders), he is arguably the servant who changes the most (due largely to the influence of Lumiere and Mrs. Potts): in a scene with Lumiere, he realizes the servants should have done more to curb Prince Adam’s bad tendencies when he was younger, and in a scene with Mrs. Potts, he realizes that Belle, for all of her supposed stubbornness, is bringing out positive changes in the Beast. His increasing flexibility is one of the many examples of Belle’s positive influence on the castle as a whole. Actors playing Cogsworth will be encouraged to emphasize these changes, and to embrace the comicality of the character, though again, Cogsworth is generally the butt of (rather than the initiator of) the jokes. The show also puts greater emphasis on the fundamental contrasts between Lumiere and Cogsworth, as scenes from the 1991 film which only featured the Beast and Lumiere now feature all three characters. Ultimately, the show plays up the notion that they are both father figures to the Beast (though Lumiere is the relaxed, encouraging father, while Cogsworth is the more demanding and impatient father). It is essential to highlight the fundamental contrasts between Cogsworth and Lumiere in these scenes. Basics: Baritone; Strong Comic Timing; Character Acting; British Accent

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Jesse Corti Kenny Raskin Josh Gad

The ultimate bumbling sidekick (or bumbling henchman depending on how one views Gaston at the beginning of the story), LeFou contributes to the overall humor surrounding Gaston in the first half of the narrative: Gaston’s outrageous vanity is fueled by the fact that his closest companion is constantly sucking up to him and reaffirming his infallibility. The song “Gaston” – as sung by LeFou – remains one of the best-loved “villain songs” in the Disney canon, and it reinforces why Gaston is so utterly convinced of his own greatness: everyone around him is forever reminding him of it. Moreover, for all of his clumsiness and supposed unintelligence, the song highlights that LeFou can be clever, nimble, and, as indicated in the more sinister reprise, cunning. Like Gaston, LeFou becomes more sinister as the story progresses: he is privy to Gaston’s plot to coerce Belle into marriage, and he attends the meeting during which Gaston bribes Monsieur D’Arque to participate in the scheme. Notably, it is LeFou who riles up the crowd of angry villagers demanding Maurice’s arrest, thus allowing Gaston to “play the hero” and intervene on Maurice’s behalf (provided Belle agrees to marry him). LeFou also takes a leading role in the storming of the castle and sadistically threatens both Lumeire and Sultan (the canine footstool) before being driven out. The Broadway version tones down some of these more sinister characteristics, and the 2017 film reinvents the character entirely, presenting him as much more sympathetic, sensitive, and intelligent. Actors playing LeFou will be encouraged to look for ways to combine some of the best traits of the different incarnations of the character while preserving the intentions of the script (some elements of the 2017 version would be difficult to integrate without rewriting the dialogue, which we are not allowed to do.) Ultimately, the biggest challenges to the actors playing LeFou are physical challenges: LeFou is the most cartoonish of the human characters presented in the 1991 film (he is dwarfish in stature, his physical features are

exaggerated, and, most notably, he is a perpetual victim of cartoon violence, usually at the hands of Gaston.) The more dignified 2017 version omits these cartoonish traits (and thus, much of the violence) but in the stage version, Gaston is constantly knocking LeFou about like his animated predecessor. Thus, the actors playing the character need to have the physical dexterity, stamina, quickness, and endurance to engage in cartoonish stage violence and to move about the stage in an “animated” manner. Though LeFou is not a “dance role” in the traditional sense, he requires a certain agility: ironically, his essential clumsiness demands that an actor be the opposite of clumsy, so that LeFou’s clumsy movements can be executed gracefully and safely. Basics: Baritone/Tenor; Physical Dexterity/Agility; Cartoon “Violence”; Strong Comic Timing; Character Acting

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Rex Everhart Tom Bosley Kevin Kline

The first three films of the Disney Renaissance era place notable emphasis on the relationships between fathers and their daughters: Ariel and Triton; Belle and Maurice; and Jasmine and the Sultan. There are similar emphases in later films from the era, including Pocahontas, Mulan, and Tarzan. Generally, the fathers fall into two camps: the proud, strong patriarchs (Triton, Powhatan, Fa Zhou) and the eccentric, doting dads (Maurice, Sultan, Professor Porter). Maurice is thus part of a wonderful tradition of Disney characters from a particular era. One noteworthy characteristic of Maurice and the other “doting dads” listed above is that they are portrayed as somewhat elderly (thus underscoring their befuddled personalities); Maurice is repeatedly described (or referred to) as an old man in the story, despite Belle’s being only eighteen. Thus, there is an almost grandfatherly quality to the character, though this also underscores why Belle has become something of a caretaker to her father in spite of her still being a very young woman. Still, the care is not one-sided; Maurice adores his daughter and would do anything to protect her and ensure her happiness. He is also immeasurably proud of her. The additional song – “No Matter What” – is sung as a duet between Maurice and Belle, and it highlights both their loving affection for one another, and the fact that they appreciate one another’s uniqueness. Though the song adds greater context and depth to the Maurice/Belle relationship, it does not provide much in the way of detail regarding Belle’s mother; Maurice briefly mentions that Belle is “her mother’s daughter,” and also briefly alludes to the “pain” that they have endured (which may be a reference to the death of his wife.) The 2017 film takes the matter much further by including a flashback where we see the tragic circumstances under which Belle’s mother passed (the film also underscores the essential bravery of Belle’s mother and connects that trait to Belle). Though Maurice is generally a very funny character, his imprisonment by the Beast initiates the serious drama of the Belle/Beast relationship. Moreover, actors playing Maurice have the challenge of bringing a sense of “age” (and the

dramatic weight that goes along with age) to what is a “youthful” show; there is a young energy to Beauty and the Beast, partly due to the fact that it is based on an animated film. Moreover, most of the “adult characters” like Mrs. Potts, Lumiere, and Cogsworth have a youthful whimsy about them given that we tend to focus on their enchantments (i.e, we perceive Mrs. Potts is a magical teapot rather than a middle-aged matriarch). Maurice is a noteworthy exception to the show’s youthfulness, and the young actors playing the role should consider ways to bring out the gravitas, tenderness, and poignancy of age/fatherhood in this character. Basics: Baritone; Character Acting; Strong Comic Timing Balanced with Age/ Gravitas PS – I cannot take credit for the meme below, but I fully endorse it! I shipped Mrs. Potts and Maurice before I knew what shipping was!

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Kimmy Robertson Stacey Logan Gugu-Mbatha-Raw

Though Fifi is not featured as prominently as the three lead servants (Mrs. Potts, Lumiere, and Cogsworth), the 1991 film would feel less without her; from her exuberant first line – “I saw a girl in ze castle!” – to her flirtatious tickling of Lumiere with her feather duster when she has been transformed back into a parlour maid, Fifi leaves an impression on the viewer (no wonder she is featured prominently on the original poster art for the film). Subsequent adaptations have granted her more stage/screen time and have added greater depth to her relationship with Lumiere, thus giving viewers another couple to “root for” in addition to the title couple. While the friendships between all the enchanted objects are endearing, Fifi’s relationship with Lumiere reminds us that the happiness of all the “castle couples” is at stake. On that note, Babette (the stage version of Fifi) and Lumiere create a wonderful opportunity for the actors to play up a very different love story in comparison to the titular love story; whereas Belle and the Beast gradually fall in love, Babette and Lumiere are “crazy in love” from the very start of the story. Their flirtatiousness, mock angst, and playfulness provides a light contrast to the more serious love story unfolding before them. Much as Lumiere knows his suaveness will allow him to get away with anything, Babette is well aware that she is incredibly attractive and knows how to use that to her advantage in her dealings with Lumiere. There are wonderful opportunities for physical humor as well, with Lumiere kissing his way up Babette’s arm only to start sneezing as her feathers and the dust tickle his nose. The actors playing this role will be encouraged to explore the potential for physical comedy in the flirtatious scenes between Lumiere and Babette. Though Babette is not a “dance role” strictly speaking, she shares a tango with Lumiere during a dance interlude in “Be Our Guest,” and she and Lumiere would likely be one of the main couples dancing the waltz during the reprise of the title number in the closing moments of the show. Basics: Mezzo; Strong Dancer; Couple Chemistry; French Accent

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Bradley Pierce Nathan Mack Brian Press

Like so many popular film franchises, Beauty and the Beast has something of an “extended universe” to include a series of children’s books that tell stories set before, after, or during the main action of the 1991 film. Notably, many of these story books focus mainly on Chip and his close friendship with Belle (Belle is my Babysitter, The Perfect Pearl, Star Stories, et cetera), thus reinforcing the notion that Chip’s perspective doubles for the perspective of the child viewer (like Chip, they are invariably captivated by the titular love story, the adventure, and of course, by Belle). Chip’s essential character traits in the stage adaptation are very much in keeping with the original version of the character: he is precocious, curious, adventurous, and adorable. While he appreciates the loving bond between Belle and the Beast, he is too young to fully grasp it (hence his wondering what the “something” that everyone refers to during “Something There” actually is). As noted above, Mrs. Potts is the heart of the show, but Chip contributes heavily to this in as much as he is the character with whom Mrs. Potts has the closest bond; therefore it will be necessary for the actors playing Chip to have chemistry with the actors playing Mrs. Potts. Like Maurice’s age, Chip’s wide-eyed innocence poses a challenge to the actors who will play him: can you embody the perspective of a child and provide the necessary contrast to the adult enchanted objects? The moment at the very end of the show when Chip reappears as a little boy (having regained his humanity) and embraces his mother is tender and beautiful…can we capture that tenderness and beauty despite the fact that we are not using child actors? There are physical challenges as well; Chip is presented riding in a cart that will hide the actor’s body and allow their head to poke through the top. While we will deliberately design the cart to be comfortable, the actor will be dependent on other actors to move them about the stage, unless we are able to create a mechanism by which the actor has control. So, flexibility and trust are key. Basics: Child Voice; Strong Characterization of Childhood; Physical Flexibility

1991 Animated Film 1994 Broadway Show 2017 Live Action Film Jo Ann Worley Eleanor Glockner Audra McDonald

Perhaps no character in the Beauty and the Beast franchise has evolved so thoroughly through the different adaptations and permutations of the original 1991 film. Warmhearted and gregarious, Belle’s wardrobe is introduced as another doting mother figure in the vein of Mrs. Potts, though it was the Broadway show (and a corresponding issue of the 1994 comic book based on the animated film) that first introduced the notion that the wardrobe was once a famous opera singer. This characterization continued into the 2017 film, in which the remarkably talented Audra McDonald played the character (and in which the wardrobe was given a love interest in the form of Maestro Cadenza, who was transformed into a harpsichord). Conversely, the stage adaptation teases a potential relationship between Madame and Cogsworth following the breaking of the spell, and there is a brief and endearing moment of flirtation between the two in the final moments of the play. Like Cogsworth, Madame is a traditionalist, though she is not averse to defying his orders if it means pampering Belle. The Broadway show presents Madame as the most nostalgic of the Beast’s servants, eagerly recounting stories of her time as an opera singer and hopeful to recapture some of her past stardom if she ever becomes human again. There should be something of the faded starlet about her, though like Sunset Boulevard’s Nora Desmond, she does not realize that her glory days are behind her (and none of her friends have the heart to tell her). Actors playing this part will need to convey a sense of “grandness” regarding the character: as a wardrobe, she is technically the largest of all the enchanted objects represented on stage, and her personality and voice match this sense of grandeur. Like many opera stars, Madame’s stage presence is larger than life. Basics: Soprano (Operatic Voice); Character Acting; Strong Physical Presence