Woodseats Musical Theatre Company’s Disney’s Beauty And The Beast: The Broadway Musical – 7 July 2026, Montgomery Theatre
Review by Ellie Needham.
Disney’s Beauty and the Beast is a timeless classic, and this production at the Montgomery Theatre captured much of the charm and humour that audiences have come to expect. While the production relied heavily on imagination due to its minimalist staging, the strength of the performances, music and costumes ensured an enjoyable evening.
The creative team, led by director and musical director Rowan Alfred, delivered a well-paced production, supported by Phoebe Phillips’ choreography. The dance routines were energetic, with the added touch of dancers entering the audience helping to break down the barrier between performers and spectators. Nick Davies’ vocal coaching was evident throughout, with the ensemble producing well-blended harmonies.
Orlaith Day gave a lovely portrayal of Belle, bringing warmth and kindness to the role. Her soft, expressive singing suited the character, while her costumes (particularly the iconic yellow ball gown) and beautifully styled wig, helped bring the Disney princess to life.
Jacob Boulton was undoubtedly one of the standout performers of the evening as the Beast. His powerful vocals and flawless characterisation allowed the audience to fully invest in the character’s journey. His transformation from Beast to Prince was clever and seamlessly executed.
Alexander Hayward-Browne provided plenty of laughs as the arrogant Gaston, while Peter Reed matched him well with an energetic and entertaining performance as LeFou.
Peter Krajewski excelled as Lumière, delivering a convincing French accent, charismatic characterisation and an excellent costume. Thomas Galwey’s Cogsworth was another highlight, combining fantastic comic timing, great characterisation and an equally impressive costume.
Becky Jones portrayed Mrs Potts with warmth and sincerity, performing the iconic title song beautifully with a gentle vocal. She perhaps deserved more of a spotlight during such an important scene.
Henry White impressed in the dual roles of Chip and the Young Prince, bringing energy and confidence to the stage. Carolyne Bean’s Madam de la Grande Bouche was full of personality, her operatic vocals adding humour throughout.
Hollie White was superb as Babette, remaining completely in character in every scene. Her expressive performance, alongside a fabulous wig and costume, made her one of the production’s most memorable characters.
Jessica Brandão, Sadie Paulucy and Lilli Connelly, as Les Filles de la Ville, certainly embraced the comedy. They contributed well to the lively atmosphere of the village scenes.
The orchestra, as always, sounded great throughout. Chris Hanlon’s lighting design was another success, effectively enhancing the mood of each scene and helping to support scene transitions wherever possible.
The costumes were undoubtedly one of the production’s greatest strengths. Effort had clearly gone into their design, with Belle’s famous yellow gown deserving particular praise. The costumes for the enchanted castle characters were also impressive, adding visual spectacle despite the otherwise minimalist production design.
While minimal set and props allowed scene changes to happen quickly, it also meant that some transitions lacked definition, requiring the audience to rely heavily on their imagination. At times, the story lost a little momentum as locations were not always immediately clear.
Overall, this was an entertaining and energetic production that succeeded thanks to its talented cast, excellent costumes and strong musical performances. Despite the limitations of the set and a handful of technical sound issues, the memorable performances made this a production well worth seeing.
