Can the Gilbert and Sullivan Society force me to like anything they do?

This is the question I had to ask myself as I emerged from the group's latest offering ? Disney's "Beauty and the Beast" ? with nothing bad at all to say about the production.

I had tramped to City Hall on opening night Wednesday with serious reservations ? Disney and tales like Beauty and the Beast are not my thing.

I thought it would surely be too directed at the kiddies and I must not have been the only one having such thoughts because I had trouble securing a viewing partner as potential dates raised dubious eyebrows when I mentioned the title.

Coming off the success of last year's fabulous "Cabaret", I really felt G&S would fail to impress this time, especially given the chosen production.

They did not. I don't know what the key to the Gilbert and Sullivan Society's outstanding consistency is, whether it is the work of its longstanding president Marjorie Stanton or simply tireless rehearsing or recruitment of fabulous directors and choreographers like Duncan McIntosh, but consistent they are.

As the familiar tale opens with its familiar tunes, well executed by the live orchestra under the direction of Mark Dorrell, one is immediately struck by the intricacy of the fantastic sets.

Set director Cleo Pettit and her team have outdone themselves.

The audience is immediately drawn into the darkness of both the woods where the Beauty ? Belle, played by Jessica Frith ? makes her home with her father while she spurns the advances of the Gaston, the musical's equivalent of the Big Man on Campus, and the gloomy castle that has become the prison to the Beast ? played by Graeme Henderson ? a former prince who wronged a witch and was cursed along with his unfortunate staff.

Most of the audience will be familiar with the basic tale told here and with many of Howard Ashman and Tim Rice's lyrics made famous both in cartoon and Broadway tellings, but the G&S still has a few tricks up their sleeves.

Belle, the play's thinking, compulsively reading feminist, rejects Gaston whom every other person in the village seems determined to fawn over and pine for ? not least of all Gaston himself. Eventually, however, finds herself imprisoned by the equally romantically appalling Beast.

At first, she cannot stand his temper, poor manners and general beastliness but eventually she sees through to his kind heart (books help).

In fact, this plot where a man who is a beast in the beginning becomes a gentleman in the end, is probably the exact reverse of most women's experiences with men ... but that as my companion quipped "is why it's a fairytale".

Gaston may be the baddie ? but as such he gets some of the most fun lines such as "we shall be the perfect pair as perfect as my thighs" ? and Philip Barnett does an excellent job of adding just the right amount of camp to his arrogance and narcissism.

Mr. Barnett's singing is very solid and Ms Frith, who has completed a two-year programme of dance, voice and acting in Toronto, shines with the benefit of her training and natural presence.

As the Beast, Mr. Henderson first seemed a little overshadowed in his singing by his two co-stars but in the final number of the first act ? "If I Can't Love Her" ? the true power of his voice comes through, sending the audience to intermission singing his praises.

This production benefits from a lot of solid work from actors those familiar with the Bermuda theatre scene know all to well ? Alison Evans as Mrs. Potts, Kelvin Hastings-Smith as Cogsworth and Phillip Jones as Lumiere are all delightful in their roles.

Another standout providing comic relief is John Ross as Belle's father Maurice, whom he plays with a Bilbo Baggins-esque eccentricity which makes up for his lesser singing voice.

It is difficult to find a weak link in Beauty and the Beast, and by act two to be honest, I gave up trying and gave over to the fun and fantasy of what G&S was serving up so wonderfully.

The sets only continues to improve in detail and execution as the musical progresses and the costumes are imaginative and gorgeous, thanks to the work of costume coordinator Barbara Jones (herself a talented actress often seen on local stages).

It is true that children will absolutely adore this production, so if you have one handy who is at an at all appropriate age, take them as your excuse to get yourself down to City Hall for a great night of entertainment.

There is much in the show for adults as well and G&S will not disappoint.

It is often said there is nothing so boring as a rave review and for that I must say readers, I am sorry.

Distant as I am from fairytales these days, this one charmed and delighted me, I laughed, cheered and almost ? and for my reticence all were grateful ? sang along.

The entire cast and crew of Beauty and the Beast deserve credit for taking in even cynics with their fairytale production.

It is a treat for the ears and the eyes.

Beauty and the Beast runs until October 21. For tickets and showtimes see www.boxoffice.bm.