Almost as old as time, it's the kind of tale that often comes out of productions at Woodminster Summer Musicals, Oakland's 40-year-old "theater under the stars" in the beautiful amphitheater in Joaquin Miller Park.

Disney's "Beauty and the Beast" — the final show of Woodminster's 2006 season, which also featured excellent versions of "Ragtime" and "The King and I" — exudes nothing but charm and enthusiasm.

"Be Our Guest," the show-stopping number toward the end of Act 1, epitomizes the best that musical theater in a community setting offers. The ensemble of singing and dancing spinning plates, flatware, stemware and utensils is truly irresistible, wonderfully complementing the leads, which happen to be most alluring candelabra, teapot, clock, wardrobe and feather duster ever to hit the stage.

There's good reason why the show has been a hit since it premiered on Broadway in 1994. With a book by Linda Woolverton boasting fairy-tale magic yet real-life humor, tuneful music by Alan Menken and devilishly clever lyrics by Howard Ashman and Tim Rice, "Beauty and the Beast" touches on universal themes: family, respect, manners, individuality, prejudice, love. Talk about humanity!

"Be Our Guest" showcases the personalities of household objects that hope to regain their humanity. Subject to a spell cast over the castle when their prince acted beastly, they focus their efforts to get their visitor, the iconoclastic Belle, to fall in love with the prince — who, in fact, had been turned into a beast. If the couple finds true love, all will return to their original — human — state. At Woodminster, the number on Friday's opening night was as magical as the story itself.

As in all Woodminster shows, the leads possess knockout voices. Angela Layfield is lovely as Belle, the strong-willed, open-minded young woman who resists the destructive pressures of her fellow villagers, and, at the same time, sees that underneath his gruff exterior, the beast has feelings, too.

Mark Campbell has the pipes to sing the beautiful ballads that reveal the beast's true, not-so-beastly, colors.

As appealing as they are, it's their compatriots who get the show's many laughs. Sam Zeller is wonderfully over-the-top as the macho Gaston, who unsuccessfully vies for Belle's love, while Greg Carlson is nicely sweet as Maurice, Belle's adventure-seeking father.

Arlene Thomas is properly maternal as Mrs. Potts, the welcoming teapot (she also gets to sing the hit title tune), while Andrew Ryan McCarthy as her teacup son Chip couldn't be more cute.

As Lumiere, the saucy French candelabra, Carl Danielsen really does light up the stage. He has his match in Babette, the sassy feather duster played by Alexandra Kaprielian.

Gene Brundage radiates the professionalism of a seasoned performer as Cogsworth, the clock, as does Theresa DeLargy as Madame de la Grande Bouche, the wardrobe. As the Silly Sisters who pine for Gaston, Cathy Bianco, Michelle Pava Mills and Sarah Pon strike the perfect cartoonish tone.

Hard-working Todd Schlader, longtime Woodminster veteran (and son of Woodminster founders James, who directs, and Harriet Schlader) does fine duty as Gaston's sidekick Lefou as well as dances as a spice — pepper! — in the ensemble.

Enough can't be said about Chris Peterson as the rug, whose character displays the tumbling skills of a champion athlete.

Of course, let's not forget the whisk (John Walbolt), corkscrew (Sebastian Romeo) and grater (Robert Ferguson). Ferguson, along with Alison Morris and Christina Weiland, comprise the clever costume team.

Under conductor Brandon Adams, choral director Trente Morant and choreographer Jody Jaron, the musicians and dancers show the real joy of "Beauty and the Beast" — and being human again.

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