Dance / Beauty and the Beast, Victorian State Ballet. At Canberra Theatre until May 25. Reviewed by SAMARA PURNELL.

This original production of Beauty and the Beast by the Victorian State Ballet was choreographed by its co-founder and co-director Michelle Cassar De Sierra.

Based on both the 1740 novel by Gabrielle-Suzanne Barbot de Villeneuve and the 1991 screenplay by Linda Woolverton, this production presents a lovely version of the much-loved classic tale.

The Prince appears in front of the curtain before it lifts to reveal a masquerade ball in full swing. Girls in full-length tutus and black evening gloves and masks dance to spritely music, building up to a crescendo of choral music.

An unusual and moody lighting design along with candles, swiftly changed from twilight to moonlight, to a foggy green forest and a musty castle.

The cast executes a lot of lifts, sweet pas de trois and a flurry of Viennese waltzes. There was lovely ensemble work from the males throughout, who embodied strength and confidence.

Tynan Wood strikingly portrays the arrogant young Prince, before a slightly unorthodox routine sees him transformed into the Beast.

Years later in a village, local cad and bachelor Gaston, performed with flair by Tristan Gross and with the encouragement of his wing-man, fails in his cartoonish attempts to win over bookworm Belle. Belle is the only girl in the village not losing her mind over him and some entertaining by-play from the “Bimbettes” and Gaston’s mates ensues.

Elise Jacques beautifully embodies Belle – dark hair, bright eyes and features typified in the animated versions of fairytales. When her father is captured and held at the castle, now steeped in mystery and held under the spell of the Enchantress from years ago, Belle follows and ends up face-to-face with the Beast.

Whilst Belle’s rejection of Gaston is forgotten with a Bavarian booze-up, the characters inside the castle come to life. There are adorable duets between the characters. Mrs Potts is lovely and Chip (Rilee Scott) performs a short but impressive solo. Lucinda Worthington delights as Wardrobe, in a light and bubbly solo and Alana Puddy and her ticking hands perform a clever and foreboding routine under the ubiquitous presence of Alexia Simpson’s Rose.

At times, the ensemble takes just a few steps from the wings, before retreating, like gentle waves – a pretty and novel touch to the choreography.

When Belle and the Beast dance, there are beautiful lifts, lovely holds and transitions and an impressive display of partnering stamina from Wood, who is also managing with the mask of the Beast.

There was potential for a costume change at this point, especially given the promotional material, where the Beast is usually in a resplendent jacket, with embroidery or brocade. This was rectified in the final scenes, when Belle appears in her yellow dress. This one appeared to swamp Jacques with its layering. The pink tutus worn by the ensemble were just beautiful and in the soft lighting epitomised the reasons so many fall in love with the romance of ballet at a young age.

The backdrops are traditional with minimal props on stage except for the candles. There were some faint, strange noises heard during the first act, which is most likely explained by a soundtrack previously recorded live. The pas de deux are short, sweet, engaging and not too laden with heavy emotion. The casting was perfection and the ensemble created appealing personas with lively dances. The mostly classical-style ballet has been given some contemporary touches.

The production is easy to watch, with no demands on the audience other than to enjoy a pleasant and uplifting night. Beauty and the Beast is a lovely ballet suitable for and enjoyed by all ages and will hopefully see some younger ones attend the show for its final performances.