Be their guest? York University’s Central Hall Musical Society (CHMS) doesn’t just invite us to watch their production of Beauty and the Beast – they sweep us into a full-blown fairytale, proving that a tale as old as time can still feel remarkably fresh.
Disney’s beloved story follows Belle, a bright and independent young woman who longs for more than her small provincial life can offer. When her father is imprisoned by a mysterious Beast in an enchanted castle, Belle offers herself in his place, discovering along the way that beneath the Beast’s fearsome exterior lies something far more human.
From the moment the ensemble flooded the stage for the first large musical number ‘Belle’, it was clear we were in safe hands. Harmonies soared with confidence, storytelling was crystal clear, and every performer looked completely at home treading the boards.
There is something uniquely special about student theatre, an unmistakable pride and commitment that radiates from the stage, and that spirit was present in abundance here. Not a single performer faded into the background, and the consistency across the company was remarkable; every individual was fully committed, creating a production that felt unified and assured.
At the centre of it all, Peony Godfrey shines as Belle. Her vocals possess a beautiful, crystal-clear tone, but it is her sincerity and emotional intelligence that truly captivate the audience. She offers Belle’s sweetness without ever sacrificing her strength.
Opposite her, Jamie Wehrle delivers a bold and carefully detailed Beast, with thoughtful physicality and clear character progression. His act one finale number, ‘If I Can’t Love Her’, was nothing short of breathtaking – the kind of performance that leaves an audience holding its breath, grateful for the interval simply to recover.
Perhaps the production’s most inspired decision was casting Emma Herritty as Gaston. This gender-swapped take was a stroke of genius, with Herritty delivering a villain who is as commanding as she is entertaining. Her charisma dominated every scene, culminating in well-earned raucous applause – whilst her chemistry with Anya Slattery’s delightfully loyal, and gloriously Schmee-coded, LeFou adds further value.
The enchanted castle’s inhabitants are equally strong. Katy Smith’s Cogsworth wonderfully offers impeccable comic dry-humour, while Maisie Banks’ Mrs Potts and Jess Gibson’s Madame de la Grande Bouche deliver vocals as bold as their characters, perfectly blended together. Jack Stuart’s Lumière was ever the charismatic showman, remaining engaging despite early microphone issues, in which credit must go to the technical team for their swift sound adjustments, ensuring the quality never faltered.
Musically, the production excels under Hannah Birrell’s assured direction. Conducting an impressively sized band, Birrell ensured each number felt purposeful in their approach. The iconic musical moments from ‘Gaston’, ‘The Mob Song’, to the showstopping ‘Be Our Guest’ land with impact, thanks to both musical precision and the sheer enthusiasm radiating from the stage.
Skye Pickford’s choreography deserves particular praise for avoiding the obvious. Rather than relying on familiar Disney clichés, the movement feels inventive and tailored to the strengths of the company, adding complexity and originality. Director Lewis Canning is to be commended for his confident and precise choices, and co-ordinating the large cast.
Louisa Ashdown’s set design wisely opts for simplicity, using levels and selective props to transport us from woodland to tavern to castle. It’s a reminder that when performances are this strong, spectacle becomes secondary.
The evening was not without its unexpected challenges – including a brief show stop – but what followed was perhaps the most heartwarming moment of all: an audience filled with peers and supporters responding with unwavering encouragement, eagerly awaiting the spellbinding story to resume. The cheers, the warmth, and the palpable pride in the room created an atmosphere rarely replicated. When the cast entered for their curtain call and were met with a standing ovation, their visible gratitude reflected the genuine connection created between performers and the audience.
CHMS has crafted a production filled with care, talent, and unmistakable joy. This may be a student production, but its heart, ambition and quality rival any professional stage. Because when performers believe in magic this much, it becomes impossible not to believe in it too.
You’ll be wise to catch it before the final petal falls, get your tickets here.
Beauty and the Beast is at the Joseph Rowntree Theatre until Saturday 28 February. Tickets start from £13.
