Written by Alan McHugh

Directed by Beth Morton

Musical Direction & Arrangements by John Kielty

Tickets from £15.50

A tale of old, one the cornerstone fairytales of Panto’s heart, it’s an anniversary year for the Beacon. Beauty and the Beast marks the venue’s tenth annual pantomime and the second year where the production is crafted in-house, written by Alan McHugh and directed by Beth Morton. A testament to the brilliance of in-house showcases, Beauty and the Beast reigns strong as the tale as old as time; a classic pantomime with a vibrancy and stellar cast that enchant, entertain, and split sides with traditional panto banter.

Radiating a beauty of spirit and character, Shannon Swan returns to the Beacon, this time as Belle, a young woman searching for adventure in the great wide to expand their horizons and learn every fairytale they can. Portraying a smart and charismatic Belle, Swan is equally as grounded and firm-footed with the comedic back and forth as any of their co-stars, performing Belle with an engaging grounded nature and some strong vocals to carry John Keilty’s arrangements. A delightful smirk can occasionally be spotted from Swan when sharing the stage with the production’s highlight of a Boabby in Lee Samuel, in a well-delivered performance that most of their cast members struggle to maintain a straight face, and the audience is completely in stitches. Bouncing with the energy of any of the sugar-charged little ones in the crowds, Samuel and Swan (together with Chisholm) bring such warmth and entertainment, that it’s impossible not to want to join them on this journey.

There’s some wonderful frolicking from the delectable Dame Betty Blumenthal in Jimmy Chisholm, who circles their cast members and riles up the audience in a manner only the most accomplished and comfortable performers can do. The humour flows naturally, as does the rapport with the crowds in a panto which hasn’t got quite the claws and teeth the name suggests. McHugh’s is a delightfully clean and clear script, one where the story is still central to the routines, but the audience isn’t the rear end of the jokes. It makes for an accessible and encouraging panto experience for the entire family, including some younger ones who could be put off by bigger live shows.

From the gnarled woodlands of Nightshade’s domain to the grand (if dusty) remains of the castle, Beauty and the Beast has some of the most striking scenery in the panto verse this year, piled with glitter and colourful elements to enchant all and fool any into forgetting the brisk chill in the air outside one of Scotland’s most striking venues, lit to the nines by Simon Haye’s lighting design. It all works to Jane McCarry’s advantage as they serve up a diva-styled Deadly Nightshade, with plenty of wicked laughs and gags – they transform the villainous role into such a firm favourite, that most of the audience clap before they remember the panto rules of booing the villain – even if we grow to love them.

While Still Game co-star Mark Cox, playing castle keeper Angus McFungus, brings the brilliantly funny curmudgeon sniping one would hope from the actor. A nice slice of sardonic and sarcastic humour, Cox’s delivery brings an edge to the otherwise fairytale and pleasant script, offering up some of the best humorous scenes (including some unscripted ones). And, despite what McFungus protests, they aren’t looking after the castle alone, armed with a quartet of helpful ensemble performers who bring weight to Georgina Mannfield’s choreography through Beauty and the Beast’s various dance numbers, thanks to the wide grins and talents of Natalie Tedesco, Alistair Fitton-Weir, Alison Hunter, and Sean Van Oostrum.

Staying true to the moniker as a ‘tale as old as time’ McHugh’s script is neat and doesn’t push for much in the way of tension or scare but captures the eternal beauty of a traditional pantomime – featuring shout-outs and the greatest, and most chaotic, rendition of the Twelve Days of Christmas ever seen. However, the lack of edge keeps the production from advancing into additional dimensions and could enable Sam Willison’s Beast a few additional moments with Swan to solidify the pair’s chemistry, even if it does lead to a touching finale filled with all the expectant magical spark to break the curse.

With musical medleys and captivating scenery, Beauty and the Beast captures the magnificence of fairytale kingdoms with the roaring scale of the Scottish coastline. A Beast of a show, with plenty of Beauty in its presentation, the Beacon shines out with one of Scotland’s most enchanting pantomimes with a cheerfully chipper cast. A fine dame, a stylish villain, a bold princess, and plenty of spirit amongst the ensemble, Beauty and the Beast captures the earnest nature of redemption and adventure with plenty of humour and spirit.

---