Theater, and therefore theater reviews, have been on a bit of a hiatus recently, due to the spread of the coronavirus and the resultant closure of many public institutions. Theater buffs have been eager to get back to what they love best, and one of their first opportunities to do so is Palace Theatre’s production of “Beauty and the Beast,” which plays Friday and Saturday. The beloved classic, helmed by novice director Rylee Trent, is a welcome piece of comfort food in this fraught time.

I will, of necessity, be discussing the coronavirus throughout this review, as it had significant impact on every aspect of this production, and will continue to do so on theater productions going forward for the foreseeable future. Just as the virus struck, the Palace was beginning rehearsals. But the resourceful cast and crew found a way: their rehearsals continued in lockdown over video conferences, and it is that passion for putting on the best show possible that has guided them through three turbulent months to a successful staging of Disney’s classic version of the fairy tale. I cannot understate this achievement, particularly by the stalwart cast.

Let’s talk about that cast. The Palace has double-cast a few roles in this production, so I’ll be discussing the performers I saw personally, but it’s certainly worth mentioning that Palace favorites like Emily Gibson and Brock Harris grace the stage in the roles of Beauty and the Beast, respectively, and that longtime Pocatello theater vet Tanner Morton assays the role of Cogsworth. I had the pleasure of watching Katie Johnson in the role of our heroine, Belle, and her confident and lovely voice is well-suited for the part. She successfully captures Belle’s dissatisfaction with her small-town life. Corwin Belnap is an unconventional choice for the Beast, given his stature, but his powerful singing and commitment to the role quickly disabuse the audience of any doubts they might harbor. Newcomer Spencer Dahl plays the villain Gaston and looks picture-perfect as the masculine madman, although his performance felt a little too restrained. The confidence to cut loose will surely come with more shows under his belt, and this is an impressive debut for a total beginner. Jadon Griffin’s Lefou, on the other hand, was a larger-than-life performance as Gaston’s sidekick. He tickled the audience’s funny bone, although the performance occasionally threatened to go too far over the top. Two final mentions: Jon Hanley, the master set painter last seen acting in “Addams Family,” can also be seen onstage here, and he’s just right as Belle’s father Maurice. Last but certainly not least, Kareen Binter is just delightful as Mrs. Potts. I could go on and on about this hardworking ensemble, but I’ll simply reiterate that staging a show under these conditions is a Herculean effort, and they deserve your applause.

One silver lining to the chaos wrought by the virus is the lavishly painted set. The Palace has established a reputation for gorgeously painted sets, but they have truly outdone themselves this time. Master painter Jon Hanley seems to have taken advantage of the extra lead time on “Beauty and the Beast,” and Belle’s “small provincial town” is bursting with life, as is the Beast’s gloomy Gothic castle.

“Beauty and the Beast” is a timeless story of unlikely romance and fairy tale magic, and Palace’s production of it demonstrates the power of perseverance in the face of difficult odds. I’ll close this review by noting the measures Palace has taken to try and keep their audiences safe. I was happy to see all of the volunteers wearing masks, and hand sanitizer was on hand everywhere. However, the Palace isn’t able to socially distance well for sold-out crowds, so I heartily encourage prospective audience members to wear their masks as well. The more we can all adapt to public safety measures, the faster we can get back to theater as normal.

Ted Bonman teaches English and theater at Century High School.