The small girl in the next seat looked unimpressed at the announcement: why, she asked her father, was it necessary to delay the start of Beauty and the Beast by 15 minutes “owing to technical difficulties”? Her father explained that the Beast has to transform into a handsome prince at the end of the show, and that was difficult to achieve. You could accuse him of giving the game away, but since this Disney stage version has been around for many years, and the original fairy tale a great deal longer, his sin was probably not as bad as leaving government secrets on a train. Whatever the initial problems, once under way this touring production turned out to be impressive. It may not equal the original Broadway or West End versions, but the latest lighting techniques are used to create a vibrant, colourful show. You are immediately led into an imposing castle, topped by many turrets. Inside lived a prince, who once had everything his heart desired. But he sneered at an old woman carrying a rose, so he was transformed into a hideous beast. Who could love him now? The Beast’s servants do their best to reassure their master that all is not lost. They are a perky lot, consisting of Mrs Potts the tea lady (Marnie Baumer), Chip the talking teacup (Thomas Truscott or Angus Pinkerton), Lumiere, whose hands have been turned into flaming torches (Phil Barley), Cogsworth, the giant mobile clock (Ashley Knight), and several more besides. In due course, the young and beautiful Belle appears. The Beast roars, and has her locked up. Then, encouraged by the servants, he invites her to dinner. But, in a moment always greatly relished by younger members of the audience, he has trouble adding the magic word ‘please’. Shaun Dalton quite properly never lets you forget that a warm heart still beats beneath the hairy, hideous, and bad tempered exterior of the Beast. He’s aided by his warm tenor voice, which transcends the tinny amplification system. As Belle, Ashley Oliver also sings well, and suggests a character built of strong stuff beneath her winsome smile — she’s more than a match for Ben Harlow’s Elvis-lookalike Gaston, who thinks a few pelvic thrusts will lure her into marriage. Directed by Alison Pollard, ensemble singing and dancing is as fresh as a new coat of paint, and musical director Gareth Williams and his band make sure that Alan Menken’s chirpy score comes over with zest. Umpteen years on, Beauty and the Beast is still going strong. n Beauty and the Beast continues at the New Theatre, Oxford, until Saturday. Box office: 0844 847 1588 ( www.NewTheatreOxford.org.uk).