"Beauty and the Beast" is about as big and splashy as a Honolulu summer musical is likely to get.

The live version of the Disney cartoon appeals to audiences who already know the characters and the score and who are curious to see how the animated effects play out on stage.

The Diamond Head Theatre production does not disappoint. Karen Wolfe's costumes visually command with color, creativity and detail. Willie Sabel's set design turns piles of painted rocks into a solid castle, and Dawn Oshima's lighting evokes pools of mystery and emotion.

David Spangenthal directs, choreographs and plays The Beast, handling all three loads with a confident and playful touch. As director, he has assembled a solid cast.

Shawna Masuda plays Belle, hot on the heels of her powerful performance as Kim in "Miss Saigon" for Army Community Theatre earlier this year. This recent high school graduate has a strong voice, well suited for musical theater, that articulates lyrics and moves easily across the melody. She also has a remarkable grasp of character that displays insight and range.

J. Vincent Wheeler is a wonderfully exaggerated Gaston, simultaneously pompous, vain and ridiculous. Pedro Haro is excellent as his sidekick Lefou, who suffers a cartoon share of kicks and punches.

Other character roles are neatly turned in by Dennis Proulx as the clock, Douglas Scheer as the candelabrum, Katie Leiva as the teapot, Pamela Young as the armoire and Devon Guard as the feather duster. Ralph Brandt provides gentle human contrast in the role of Belle's father.

As choreographer, Spangenthal moves his dancers well, bringing sharp coordination to the toasting sequence as the townspeople clank their beer mugs to celebrate the wonders of "Gaston" and dancing kitchen utensils whirl through their big signature number, "Be Our Guest."

Best of all, Spangenthal is fun to watch as The Beast — roaring and snarling in Act One and comically discovering the knack of being human as Belle civilizes him in Act Two. Despite the pounds of makeup and hair, he physically punctuates the dialogue, registering big emotion that carries to the back of the theater, but that feels absolutely right for the character and the moment.

The big transformation scene in the finale is done with careful lighting, a lot of smoke and a spinning body harness that whirls him back into human form. There's also some theatrical sleight of hand that has us puzzling "how'd they do that?"

The entire cast sings well and is supported by a subtle sound system and balanced against an orchestra under the guidance of musical director Emmett Yoshioka.

When the show is bright, it is very, very bright, and when it is somber, it is gloomy. That's the right recipe for a children's story that also works extremely well for adults.