Review: Kaunotar ja Hirviö

How to tame a monster
I have to admit that the City Theatre’s novelty, the Disney musical Beauty and the Beast , is almost everything you would want from a good musical: It has visual magnificence, compelling dances, direct and hidden humour, a theme that emphasizes tolerance and tolerance of differences, and a few riddles as an added spice. In addition, it is suitable for both children and adults.


Beauty and the Beast is an old fairy tale in which a father sheds his own skin to save his daughter from the monster’s castle, but with her love, the girl manages to tame the beast and the magic to fade. The fairy tale has been interpreted as a story about a young woman’s awakening of sexuality, in which case the opposite sex may initially feel like a “monster” in its strangeness.

The Disney version, which is also familiar from the animated film, emphasizes the role of daughter Bella. She is a young woman who is fascinated by books and longs for adventures in the world. In the eyes of the villagers, he is as much of a freak as his inventor father. There is plenty to mock in both.

But when her father is trapped in the monster’s castle, Bella takes the reins without hesitation and grows up.

Bella’s character has modern strength and courage, and she does not bend to the boasting of the narcissistic Gaston, who woos the girl. A young woman is a subject, not dependent on other decisions.

In the castle, the Beast is revealed to be a stubborn man for whom forgiveness and thanks are foreign words. Bella becomes his trainer. Time flies, and magic threatens to become permanent: Enchanted people are forever becoming objects and furniture.


Beauty and the Beast also contains a strong charge in terms of tolerance for differences. It’s startling to see how quickly the villagers go from being a taunt to worshipping a strong leader and finally shouting without hesitation as they embark on a monster hunt: Kill, kill!


Marika Westerling Bellana is cute, like steel in a silk glove. At the premiere, Kari Arffman ran riot as the monster. In the end, his character was quite soft despite the great roar. Mikko Vihma boasted handsomely as Gaston.
At the castle, Risto Kaskilahti as a candelabra and Eero Saarinen as a bell unleashed many laughs. The other inhabitants of the enchanted castle were also very happy.


Sari Salmela’s magnificent costumes and Katariina Kirjavainen’s set design played a major role in the creation of the fairy tale’s enchantment.