REVIEW: THE LITTLE MERMAID IS SPLASHY FUN FOR THE WHOLE FAMILY

*Boe Warwick as Ariel and Chase Kovacs as Flounder*
*Photography by: Gareth Skipp*

It is no small feat taking beloved Disney properties and ensuring they translate well from screen to stage. With the successful stagings of Beauty and the Beast and The Lion King, it was only a matter of time before The Little Mermaid would be attempted. The production was met with moderate success on Broadway when it debuted in 2007, featuring all the classic songs from the movie and nine new songs written by Alan Menken and lyricist Glenn Slater. However, the story adaptation and staging was ultimately considered lackluster compared to the film and required a great deal of suspension of disbelief from its audience.

With that history in place, it is important to understand that the shortcomings of the staged version of The Little Mermaid requires a director and creative team that can rise above its reputation and create something magical and memorable. Theatre Ancaster’s Youth Series production mostly succeeds at this and focuses on the splashy, family fun aspects while allowing the enormous cast many moments to shine.

After a musical track led overture (a missed opportunity for Owen Lapsley and Riley Genier’s nautical projections to set the mood), the audience is introduced to Ariel, a sweet and notably faithful portrayal by Boe Warwick. Warwick’s voice is well suited for the challenging mezzo-soprano vocals in the role. There’s some overreliance on using her hands to convey emotions but overall, she is Ariel in personality and performance.

We are introduced to other characters in Fathoms Below (Eric, played with dashing charm by Noah Pace and the stuffy, decidedly un-seafaring Grimsby played by Ben Pickles) and then taken under the sea where the stage transforms into an oceanic wonderland. The set design by Kathy Mustard and set decorating team showcase great attention to detail from hollowed out shipwrecks to grottos and the stage crew deserve the highest praise for their abilities; moving the ever-changing pieces scene-by-scene. Truly impressive work.

The costumes are equally impressive (designed by Emma Borsellino) and allow for the suspension of disbelief of swimming or floating to happen fairly successfully. They are brightly coloured and the merfolk costumes are cleverly layered fabrics that give the illusion of fins. There’s some fun use of using aviator gear and goggles for the seagulls (Scuttle in particular), a wide array of deep sea creature outfits and, of course, the iconic costumes for our leads lends to the expectation factor the audience has as well.

Since the Youth Series cast is so immense, it is difficult to mention everyone by name here but as director Sam Frisk suggests, this show is nothing without its ensemble who portray several characters (human and non-human alike). I will, however, mention the delightful enthusiasm by Randell Browne and Josh Matijasich as merfolk guards (among other roles). They are quite a pair and I was always excited to see them on stage. Take note: they are perfect examples of how much being part of the ensemble matters.

As a lover of villains, it is impossible to discuss The Little Mermaid without its iconic and malicious Ursula the sea-witch in a standout performance by Michaela Mathurin (and her talented electric eel duo of Flotsam and Jetsam performed and puppeteered by Marissa Elliott and Ayla Outtrim respectively). Ursula’s scenes are the best staged and lit in the entire musical with a foreboding mix of purples, greens and eerie yellow eyes floating in the background. What was so refreshing was how Mathurin did not emulate any past performance of Ursula and makes the role her own with wicked charm and powerhouse vocals that filled the auditorium at Peller Hall effortlessly. Bravo.

With all the fun, splashy ensemble numbers such as Under the Sea, Les Poissons and the wistful If Only (Quartet), it must be said that musical tracks here do a great disservice for these performers learning how to best utilize their vocal talents. Musical tracks leave little room for error, improvising or even proper breathing and it was noticeable, at times, that the performers were struggling. Perhaps future productions for the Youth Series would benefit, as a learning opportunity, to have live orchestrations so that they can hone their skills in relation to a live score and also have more freedom within their performances.

Theatre Ancaster’s The Little Mermaid is nostalgic family entertainment that has some incredible set designs, an enthusiastic ensemble, clever costumes and impressive performances. It is a solid choice as a youth-centric musical allowing these budding professionals, much like Ariel, an opportunity to find their voices. Go “sea” it and be a part of their world.

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