By JESSICA NEU
The Benedum Center has invited Disney’s Beauty and the Beast to ‘be their guest’ from Tuesday, February 24th, through March 1st. The production marks the 30th anniversary of Disney’s groundbreaking musical that brings the beloved 1991 film to life. The new production hails from the same producers of Disney’s Aladdin, The Lion King, and Frozen, with original Broadway Choreographer Matt West serving as director and choreographer. Before Belle stumbles upon the Beast’s castle, I had the pleasure of speaking with Swing and Mrs. Potts understudy Leigh-Ann Esty.
Ms. Esty is a classically trained dancer who began perfecting her craft at the young age of three alongside her twin sister. She trained under Linda MacArthur Miele, who opened a performing arts school in Maine after her time with the New York City Ballet. Production classes at this school introduced Esty to the world of musical theater. During her teen years, she also had the opportunity to train at the School of American Ballet in New York City and at the Miami City Ballet summer course. Esty soon realized that, despite her training in New York City, the Miami Ballet Company might be a better place for her to pursue a professional career. Founded by Edward Villella, an ex-principal of the NYC Ballet, Villella created a space that encompassed all of the classical ballet technique but also invited dancers of different heights and levels of athleticism. Esty and her sister joined the company in 2005, where Esty remained for the next twelve years, gaining “incredible exposure and experience.”
Despite her love for professional ballet, Esty explains that she “always had this yearning to explore Broadway, growing up I was a part of the High School drama program and a part of the Chambers Singers, so I learned how to read music and was also part of the band. I had a very musical background. Musicals are so much fun because in the classical ballet world, you normally do not speak whereas in musical theater, I found that there was a little more freedom of expression with your voice and your movement and artistic choices. Towards the end of my professional ballet career, Christopher Wheeldon was putting together An American in Paris for a Broadway run. A casting director reached out to several dancers in professional ballet companies to see if they wanted to audition for the show. I was not ready at the time because there was more that I wanted to achieve professionally. However, my sister auditioned and was cast as the alternate for the lead role for the entire Broadway run of An American in Paris. Two years later, they were launching the first national tour and they needed an alternate for my sister. The producers didn’t realize that she had an identical twin with a similar skill set and I was ready to leave the company at that time. I felt ready. This was a perfect outlet for me to see what else was out there. So I auditioned and ended up joining the national tour as an ensemble member and alternating the lead role with my sister. So that was my launch into the musical theater world professionally. I did An American in Paris for a year when I found out that a friend of mine was choreographing the revival of Carousel on Broadway. I really wanted to try for Broadway. It was something that I have always wanted to do. It was a complicated audition process, but I did get an ensemble spot in the revival of Carousel and I was also an understudy for the principal role of Louise which led to my principal Broadway debut. I feel so very lucky to have these contacts from the Broadway world who helped me in this way. It’s amazing.”
Esty’s breadth of experience can certainly inspire the next generation of dancers who also aspire to be on Broadway. “When I go into auditions, I can always pick out the performers who have technical training,” Esty explained. “Everything stems from ballet. I encourage anyone who is currently studying performing arts to continue to train hard in ballet because Broadway always needs dancers with strong techniques.”
Esty also pointed out how important dance classes, or performing arts classes in general, can be for children today, in a digital era marked by social media, distraction, and instantaneous gratification. Dance classes require a certain focus and discipline that is often lost in today’s era. “I think it is imperative that you keep training,” Esty stated. “Know that there is a place for you, not just in the ballet world. If a dancer is interested, they should absolutely pursue other avenues to expand their craft. Take a singing lesson or a hip-hop class to help yourself become well-rounded. Producers also know that if you, as a performer come from a company background that you can handle the eight-show-a-week workload and the rigorous schedule of Broadway.”
Esty joined the touring cast of Beauty and the Beast as a Swing. “This is my first time as a Swing, and it is a really difficult job,” she explained. “This show has three female-identifying swings and three male-identifying swings. Our jobs are basically to learn every single ensemble member’s role in the show, and if any performer goes on vacation, gets sick, or gets injured, we have to step in and execute their role. So basically, I have six people’s “tracks” running around in my head at all times. We are not on stage every day. Sometimes productions have what is called an on-stage swing, where you are on stage every day, but still cover other people’s roles. We do not have that here in this show. Not being on stage every day gives you an opportunity to continuously review each person’s role. I also cover a principal role, Mrs. Potts, which is really exciting, so that is a seventh role that is swimming around in my brain. When I first started, because I never swung before, it was a lot. It was a lot of information that was coming at me fast because they needed to learn as quickly as possible. Then they would put me into the show so I could debut that track, and then I would technically be able to go on for that performer. Once you learn three roles, then the rest of the roles you have to learn on your own or observe. You have to really be a hands-on person. Being a swing is one of the wildest things that I have ever done, but I also feel like I am at my most alert. I am able to see the show as a puzzle, and I now know where everyone goes and figure out all of the logistics in my head. It is kind of a wild train of thought that goes through your head, but you have to be incredibly focused, and it is a wonderful, humbling, and gratifying experience. Once you have achieved all of the roles and say, ‘I got this.’”
Despite knowing every detail of the show, Esty explained that seeing the show in its entirety is still an emotional experience. “I still cry when I watch the show,” Esty stated. “One of the biggest changes for me is that I am not on the stage everyday which is very different for me. So when I do get to go on stage, I am so grateful to be there and there is not an ounce of me that thinks ‘oh, I’m too tired, I don’t want to go on tonight.’ Because when you do the same show eight times a week it can be exhausting. You sometimes have to try to find new inspiration to keep the show fresh. And we are all human. We aren’t robots and have other things going on in our lives that can affect how we feel. But especially in a Disney show, you have to really put on the magic for the audience. So when I get to go on stage in this show, I have the best time. I’m past the point of being a panicked swing, so I feel incredily grateful and I love doing the show. It is just so happy.”
Regarding the show’s current production, Esty explained that “this is the 30th anniversary tour. It is the same classic story that we all know and love. It is amazing what kind of technical elements we have these days. We use a lot of projection which cuts down on the amount of trucks needed and production costs, but the Disney magic is so strong. It has been such a joy to see how the show has been received by audiences. You have the little girls dressed up in Belle costumes and boys dressed up as Beasts. The production is just wonderful. If you know the show really well, you will notice that a couple of interludes are different and the tempo of a few songs are a little different, but the joy that the story brings to people is still there.”
“It is a beautiful version of the show, Esty continues. “One of the things that sticks out to me most about the show is the human kindness element. Belle gets into a situation that is kind of scary and really lonely. Because of her kindness, this relationship transforms. I hope people understand that love comes in all shapes, sizes, and looks, and not to judge a book by its cover, and to give people a chance. Give people a chance to be trusted, to show themselves, and to be patient with one another. We have to be patient and trusting that love conquers all.”
TICKETS AND DETAILS
Disney’s Beauty and the Beast is at the Benedum Center from February 24 – March 1st, 2026, as part of the Pittsburgh Cultural Trusts’ PNC Broadway in Pittsburgh series. For tickets visit: https://trustarts.org/production/100466/disneys-beauty-and-the-beast
Categories: Arts and Ideas, Arts Education, Feature Stories
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