It would take more than a haircut and a dancing lesson to free the spellbound prince in the latest production from the Maine State Ballet. But true love just might do the trick.

After its premiere run was delayed for two years by the pandemic, choreographer Linda MacArthur Miele’s playful new take on “Beauty and the Beast” is now in front of an audience for the first time.

With brief passages of voiceover narration and both sophisticated and comical dance sequences juxtaposed throughout, this family-friendly version of the classic tale, set to a variety of old and new music, seeks to enchant all. Judging from the many remarkably quiet and attentive youngsters at the Saturday matinee performance under review, it was certainly a success.

At the second of 11 performances spread over three weekends, the two-hour show, including two intermissions, teetered a bit at times in maintaining a flow to its storytelling as the production periodically shifted its tone from light to something a little creepier. But the various elements, bursting with impressive individual sequences and dazzling collective moments, revealed the venerable ballet company to still be capable of entertaining in a variety of ways.

Michael Hamilton took the lead role of the prince (performers will alternate during the run of the show) whose petulance causes him to be transformed by an enchantress into a hulking Beast. Only love can break the spell and, through an encounter with a wolf-hounded traveler played by Fred Bernier, the Beast comes face-to-face, or muzzle-to-face, with the man’s daughter.

Julia Lopez, as the beautiful Belle, wins over the hairy fellow, whose dangerous horns are no match for her delicate touch and lighter-than-air movements. Lopez and Hamilton partnered well as the two danced their way into breaking the spell and (spoiler alert) living happily ever after.

Along the way, dozens of colorfully costumed (by Gail Csoboth) 18th-century villagers, not to mention the flora, fauna and furniture around them, come to life in scenes full of mystery, magic and celebration.

The dreamlike divertissement of the second act, reminiscent of “The Nutcracker,” presented a variety of characters pantomiming mischievously and dancing divinely.

Arie Eiten and Katie DeSantis, as Clock and Armoire, respectively, provided plenty of laughs as they postured and squabbled with each other in the Beast’s castle. A perky Agnes Norman became a vibrant Harp while Emma Davis transformed into a fleet-fingered and fast-footed Harpsichord. Adrienne Pelletier was a luxurious Tapestry while Barry Brinker added humor as a sweet-toothed Layer Cake.

The most attractive pure dance sequence of the performance came when the Rose, Rhiannon Pelletier, led her Rose Maidens and Rosebuds in a lovely final moment of ballet that was more than enough to charm just about any beast in the house.

Steve Feeney is a freelance writer who lives in Portland.