BEAUTY AND THE BEAST

Director: David Sidwell

Musical Director – Orchestra: Katie Wigmore

Musical Director – Vocal: Alex Wiltshire

Choreographer: Rachael Bloemendal

Production Designer: John Harding

St Peter’s Cambridge, 24 April-1 May 2026

Disney’s Beauty and the Beast has arguably the best motif of any of the famous fairytales, that true love requires complete acceptance. Book-loving Belle is independent and refuses to be objectified; the Beast believes he will never overcome his burden; and Gaston…well, Gaston is Gaston!

St Peter’s Cambridge’s continues to champion and nurture its talented performers, particularly through its investment in the annual production. This is enhanced by the inclusion of industry professionals with breathtaking resumes. Beauty and the Beast featured a cast of more than forty, sixteen backing vocalists, eighteen band members, and more than sixty crew.

Katy Woodcock, Stefanie Hack, and Will Gulliver were able to create a diverse range of looks from the Beast’s extraordinary prosthetics to garish Silly Girls, elderly Maurice, and fop-inspired Lumiere. Beauty and the Beast provided a superb opportunity to allow the young hair and makeup team to learn a multitude of application techniques.

Costume designer Rose Sidwell produced another visual triumph. The predominantly natural fibre fabrics and muted palate of the villager’s costumes were in stark contrast to the sumptuous velvets, ostrich feathers, beadwork and embellishments of the Beast’s staff. Sidwell’s costumes for the castle’s staff were expertly constructed, and every single costume was perfectly fitted. There was an audible gasp at the arrival of Belle’s iconic yellow ballgown. The dress stole the spotlight and created a wonderful juxtaposition against the darkness of the castle.

Rachael Bloemendal’s choreography accommodated a wide range dance levels. The dance troupe was lithe and proficient. The full ensemble number “Gaston” at the tavern was energetic and witty, and “Be Our Guest” was simply spectacular. Aaron Chesham’s lighting design keenly captured the essence of the ominous woods, provincial village, and luxurious castle.

Audience members may have been forgiven for thinking pre-recorded tracks were used, but a reveal at the end proved that the band was live.  Musical Director of the Orchestra Katie Wigmore was able to showcase the depth and breadth of talent in her band with longer than usual play-ins for Acts I and II. The band was a mix of students and local professional musicians. Alex Wiltshire’s vocal direction brought out the best in named characters, and she had developed a full-bodied sound from all singers across the ensemble and backing vocalists.

John Harding returned for his sixth year as production designer. He created a darker, moodier set, a far maturer iteration than is usually seen for this musical. Harding’s makeover added a thoughtful solemnity to the Disney classic. The school’s revolving stage mechanism allowed the castle layout to turn on a dime and created an imposing level for the Beast. Harding also designed a magnificent pop-out storybook, resplendent with ink and watercolour illustrations. Maurice’s invention was Harding through and through, a combination of tricks, humour and attention to detail.

Beauty and the Beast marks David Sidwell’s 21^st production for St Peter’s. Just when you think you have seen the best direction of a school production, Sidwell raises the stakes. His decades of theatrical experience were visible in every movement of cast, props, and flys. In one of the most adept scene transitions ever witnessed, the interior of the castle appeared to melt into the village square within a moment, as the castle inhabitants dissolved into the background and villagers filled the stage. The cast were well-rehearsed, and the comedic moments appeared effortless, heightening the nuances in the script. Sidwell’s meticulous attention to detail meant that he and his team have set a new benchmark for secondary school productions.

I suggest you be St Peter’s guest and clear your calendar for one of the upcoming performances this week.  

Tickets

Disclaimer: When reviewing school theatre, I focus on the overall quality of the production rather than evaluating individual performances.