The plot is familiar: a handsome prince denies food and shelter to the hungry beggar woman who shows up at his door, and his life takes a turn. The beggar woman reveals herself to be a beautiful enchantress. To punish the prince for his cruelty, she turns him into a hideous beast, and his loyal staff of servants into, well, household appliances that dance and sing. Lastly, she gives him a single red rose. If he has not experienced true love and given love in return by the time the last petal falls from the rose, the spell will never be broken. Just then, an inventor stumbles upon the castle on his way to the fair, and the Beast throws him in his dungeon for his intrusion. The inventor's lovely daughter Belle-considered odd by her fellow townsfolk yet lusted after by the town's hunky hero, Gaston-bravely offers herself in her father's place. And thus the magical tale of "Beauty and the Beast" begins.

I never thought I'd begin a review by raving about a set, but in this case I will, because Adam Bellao has succeeded in creating an ethereal, faraway, long-ago world. The winding staircase, the stony hall, the haunting rose in the middle of the floor, it's all breathtaking, especially when complemented by Aaron Hutto's lighting design. Silk scrims added to the doorways signal changes in place and time. Ballao, a graduate of Franklin Pierce, is a talent to watch. And the way the entire show ran as smoothly as a well-oiled clock can only be attributed to stage manager Matt Cost.

Lindsay Graham, as Belle, has the voice of an angel. As an actor, she portrays Belle's innocence perfectly, but her sweetness is so all encompassing, she lacks the spirited spunk that would make me believe she's capable of defying the terrifying Beast. The stalwart Edward Batchelder as Lumiere and the effervescent Tommy Hensel as Cogsworth are enchanting and entertaining, but I almost wanted them to swap parts. I felt Batchelder's stoicism would have been even funnier as the uptight clock, and that Hensel's natural buoyancy would have befitted the flamboyant candle perfectly. The three Silly Girls-played by Holly Laurent, Wendy O'Bryne and Annaleigh Kress-stole every scene they were in. John Flynn as the bumbling inventor colored his role with his special humor. Robin Jarboe as Mrs. Potts conveyed a maternal warmth that flowed to the back of the hall, and Scott Hermenau as Chip stole every heart in the house. Katie Robertson, as Madame de la Grande Bouche, displays a vocal quality worthy of the Met. Kristen Thomas, as Babette, mixes sensuality, comedy and vocal ability in a way that few Broadway performers are able to do. Chris Bradley as LaFou throws himself into the role so fully that at times he's far over the top; nevertheless, he makes it work.

Colin Ryan, fresh from his turn as Stanley in "Streetcar," does a complete 180-degree turn as Gaston, showing off his buffoonish comedic ability as well as an amazing set of pipes. He's charming, he's silly, and when he's on stage, he owns it. We'll be watching him win a Tony in the not-too-distant future, I'm guessing.

The highlight of the show, though, is Miles Burns as the Beast. He crouches, he crawls, he leaps, he thunders. He's graceful and terrifying and vulnerable, all at once. His voice is from the heavens, and his emotion is purely from the heart. I will personally make it a point to attend any show Burns performs in, in the future.

"Beauty and the Beast" runs through Jan. 9 at the Seacoast Repertory Theatre, 125 Bow St., Portsmouth, Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 and 8 p.m., and Sundays at 3 p.m. Tickets are $25-$35. For reservations, call 603-433-4472.