"The Little Mermaid"

They have more than their fair share of floods in York but they don’t usually bring mermaids. They’ve had Viking invaders too and so a watery story which comes originally from the pen of Hans Andersen, albeit via Disney, is doubly appropriate.  It’s certainly a complete contrast to last year’s story of a demon barber and this tale of a mermaid’s love for a human is particularly suitable for the season around Valentine’s Day.

This was my first experience of the show but this company made their usual splendid job of it.  A giant LED screen replaced more traditional backcloths, giving the added advantage of movement, be it at the bottom of the sea or a roaring fire in the Prince’s castle and the opening number on a boat certainly captured the swell of the ocean. Costumes, including birds, turtles or a giant crab, with suitable wigs and make-up were also memorable. No wonder the list of names of those involved with such things seems endless.

All this hard work behind the scenes was complemented by some excellent performances from a wonderful cast. Monica Frost in the title role (Ariel) captured all our hearts with a lovely, first-rate interpretation of her predicament as she sought to find the prince who had stolen hers, and we could only share her admiration for James Horsman’s fine singing voice. Ariel is shadowed whether under water or on land by Sebastian the crab and Flounder and we were treated to superb performances by Jonny Holbek and Ryan Addyman respectively, the latter much more at ease than the alternative meaning of his name suggests.  They captured their characters with great confidence and expertise.  Stories such as this need a villain and here it’s Aunt Ursula, a memorable portrayal by Pascha Turnbull who commanded the stage with her every appearance and some fine singing.  She was expertly aided and abetted by Flotsam and Jetsam (James Dickinson and Adam Gill).  Presiding over under sea residents was King Triton, Rory Mulvihill suitably regal in his 29th show for this company, whilst trying to keep his six daughters in order. They have a song together (She’s in Love) and those members of the cast playing under-sea characters are to be commended on their mastery of moving on heelys. Thinking of movement, there are also opportunities for some to fly and, knowing how little time would be available at technical and dress rehearsals for practice, those involved are to be congratulated.

On dry land, the prince’s guardian, Grimsby seeks to find a bride for his ward and Neil Wood displayed suitable authority with excellent diction in this role. There’s a wonderful cameo part for a chef at the castle who has an amusing song (Les Poissons) as he prepares the piscatorial dinner and Zander Fick seized this opportunity to impress us with his performance. 

The show’s score features a number of songs of varying rhythms, including a calypso beat for a great number involving almost the entire cast in their colourful costumes (Under the Sea). The use of a tap number (Positoovity) as a way of teaching Ariel to find her human legs is an interesting move and Martin Lay as Scuttle, a seagull, seemed to enjoy every moment. Kiss the Girl sees the couple in a romantic atmosphere, accompanied by a variety of creatures whilst the quartet If Only provides a complete contrast.  Ariel’s dream of her life on land in Part of your world was another highlight.  The whole performance was accompanied by a busy but splendid orchestra.            

Finally, the company has scheduled no less than 15 performances in their run, 6 of which were matinees, over half-term week, including one at 11am on a Sunday morning.  Seat prices were £20 or less throughout the theatre, apparently at the insistence of the rights-holders rather than what I had originally thought was something of a marketing strategy. It is, therefore, in an attempt to cover the costs of staging a production of this standard at this lovely 750-seat theatre, that the mathematics require so many performances. I understand that ticket sales have been good, with audiences flooding in, shoals of them perhaps!

The company is mourning the recent loss of Peter Ayers, one of its stalwart supporters, not least of his wife, Suzanne, the current President and this production was an excellent way of lifting the mood whilst still remembering him.                

                                        

                 

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