Can the "tale as old as time" survive a Broadway musical makeover? True, the stage version of Disney's Beauty and the Beast has been around for some time, but those who have yet to make the nostalgic pilgrimage can head to Wolf Trap this weekend and answer that question for themselves.

Love it or hate it, this is Broadway spectacle at its most elaborate. From lavish costumes to looming sets, the show exudes dollars and indulgence. And this largely works for Beauty and the Beast. While one occasionally misses the magic that animation can produce, such as the sight of the villain Gaston gulping eggs by the dozen, the choreography and staging delivers its own marvels. These include the Beast's smoky, dramatic transformation from creature into Prince, a jaunty kickline-style number with clanging beer mugs, and, of course, "Be Our Guest," an explosive number featuring everything from cartwheeling carpets to acrobatic salt and pepper shakers.

But the stage show lets down its audience during its new musical numbers. Disney golden boys and Little Shop of Horrors vets Howard Ashman and Alan Menken wrote songs that translate handily from screen to stage, whether it be the boisterous "Gaston" or the lyrical title number. But while some of the new songs are musically appealling, incorporating the piece's haunting beginning theme or creating new, lovely melodies such as Belle's lament, "Home," their lyrics fall terribly short (one would have thought former Lloyd Webber collaborator and "Chess" scribe Tim Rice would have been better suited for the task of expanding this work). Sure, the songs have to compete with numbers that rhyme "I'm especially good at expectorating" with "I use antlers in all of my decorating," but not only are the new songs cliche-ridden, they are awkwardly placed and ploddingly expository. A bit more dialogue and fewer of these tunes would move Beauty and The Beast along more enjoyably.

Luckily, we have a set of star-quality leads to get us through even the most exasperating of moments. As Belle, Patii Murin has a stunningly beautiful voice, at turns bell-clear and belting, and her acting is less broad than one might expect, projecting at turns tenderness and inner strength. Michael Halling is a perfect Beast, magnetic in his suffering and endearing as he warms to Belle. While Tony Lawson's Gaston is a bit more of a doofus than one might expect, he's a great presence with an enviable baritone. Supporting characters range from super to servicable: James Young's rakish Lumiere is exactly what we're looking for, though while it's hard not to love Barnardine Mitchell as the grandmotherly Mrs. Potts, her accent wavers distractingly.

Beauty and the Beast will undoubtedly be a joyful experience for families with young children. It's still an entertaining experience for the rest of us, but anyone with affection for the better-crafted film can't help but have a few reservations. The show runs through Sunday; tickets are available online.