Northern Stage’s 2024 winter musical, “Beauty and the Beast,” feels like a glass of warm milk before bed — comforting and nostalgic, yet hard to critique without a layer of sentimentality. For those who grew up in the ’90s or raised children during that era, “Beauty and the Beast” is a cherished classic, whether the 1991 Disney film or Broadway adaptation. Northern Stage, a cornerstone of the Upper Valley’s theater scene, amplifies this nostalgia with its signature blend of national talent, local rising stars and smart creative and technical direction, to produce a night of theater that charms even as it occasionally stumbles.

Directed by Carol Dunne, Northern Stage’s producing artistic director, this production adapts the Broadway musical version of the beloved tale. Still featuring songs composed by Disney legend Alan Menken, the stage version trades the film’s enchanting rotoscope visuals for expanded musical numbers that provide emotional depth, particularly for the Beast. This trade-off works beautifully, allowing the audience to explore his internal struggle in ways the animated film only hinted at.

As is often the case at Northern Stage, the acting and depth of character development are at the forefront. Riley Noland, a Carnegie Mellon BFA graduate, delivers a standout performance as Belle. Her nuanced expressions and heartfelt delivery breathe life into the character, making Belle’s journey captivating. Opposite her, Peter Neureuther — set to make his Broadway debut in April — impresses vocally as the Beast, but his physicality seemed off. While his hunched posture and obscured face highlight the character’s beastly nature, they also limit the expressiveness critical to the Beast’s transformation, leaving audiences craving a stronger visual and emotional contrast during his redemption.

Anthony Wayne, a Broadway veteran, brings exuberance and charisma to Lumière. His chemistry with Northern Stage mainstay and Dartmouth College visiting artist Kevin David Thomas (also a Broadway alum), who plays the tightly wound Cogsworth, is a highlight. Together, they deliver humor and energy that buoy the production’s pacing. Wayne’s costumes, designed by Camilla Delly, are especially impressive, adding flair and movement to his performance. The ensemble’s wardrobe shines most during “Be Our Guest,” a visually dazzling and joyfully executed showstopper. However, some iconic costumes, including Belle and the Beast’s ballroom attire, seemed oddly subdued, minor disappointments amid an overall strong design.

Dunne’s directorial choices reflect her commitment to using theater as a platform for reflection and imagination. In the program she writes, “We as a society should always encourage children to read, use their imagination to make the world a better and more accepting place for all, and embrace what truly lies within.” The production achieves mixed success in capturing this vision.

While the costuming captures the humanity of the enchanted objects, it stumbles slightly with the Beast. Moreover, the play-within-a-story motif introduced at the beginning is somewhat abandoned, but these are small bumps in an otherwise smooth and lighthearted night.

One bold, and less lighthearted reimagining that stands out is the character of Gaston. Played by Tim Rogan, Gaston’s swagger is updated with a red snapback and a sleazy, good ol’ boy charm. What begins as comic bravado evolves into a sharply pointed critique of toxic masculinity and demagoguery, punctuated by a visually striking rendition of “Kill the Beast.” The scene, featuring villagers welding torches and dressed in khakis — really, only lacking white polo shirts to complete their attire — march beneath a stark red flag, drawing unsettling modern parallels. While this delivers a jarring dose of reality in what is otherwise escapist theater, it’s undeniably a powerful image. And Disney has always had a certain adult edge — remember the goose-stepping hyenas in “The Lion King.”

The set design effectively supports the story with dynamic backdrops, strategic lighting and movable staircases. Alexander Woodward’s minimalist approach allows key moments to shine, particularly in scenes where the Beast awkwardly navigates his attempts to connect with Belle. This simplicity reinforces the production’s emphasis on character-driven storytelling and hits the right emotional chords when it counts.

Musically, the production soars. The live orchestra brings Menken’s beloved score to life with vibrancy, capturing the emotional and nostalgic resonance that fans of the Disney classic will recognize. The songs are every bit as catchy and memorable as you remember, and if you told me they had brought back the original studio orchestra, I’d have believed you. The melodies linger long after the performance ends.

Finally, Northern Stage’s ability to blend national and local talent is on full display with a younger cast drawn from school and community theater programs. South Royalton third-grader Pavla Ballou charms as Chip, forming a heartwarming duo with Susan Haefner’s Mrs. Potts. Haefner, another Broadway veteran, imbues the role with warmth and depth, anchoring the ensemble with her experience. The young performers are divided into Red and Green teams, which helps balance the demanding performance schedule for a 2½-hour show that sometimes runs up to eight times a week. I had the pleasure of seeing the Red team, but given Northern Stage's reputation, I have no doubt the Green team is equally delightful.

The choreography, while restrained in some numbers, bursts with energy and enthusiasm in “Gaston” and “Be Our Guest,” leaving audiences wishing for more opportunities to see the ensemble showcase their talents.

Northern Stage’s “Beauty and the Beast” is a production steeped in heart and nostalgia. While not without minor flaws, it captures the magic of a beloved story and delivers a theatrical experience that will delight young audiences and entertain anyone with fondness for this tale as old as time.

Northern Stage’s production of Disney’s “Beauty and the Beast” runs through Jan. 1 in White River Junction. For tickets ($24-$94) and more information, go to northernstage.org or call 802-296-7000.

Nathan Douglas Gardner is a freelance journalist. He lives in Hartland.