The Little Mermaid

The Little Mermaid is (very) loosely based on the Hans Christian Anderson story of the same name, given a much simpler format and happier ending by the good folks at Disney for their 1989 film and later a theatrical adaptation that opened in 2008.  I’d not seen this show before, and was very keen to see what Studley Operatic Society would make of it, just days after winning the award for Best Musical in District 5 for last year’s ‘Young Frankenstein.

The show tells the story of Ariel, a mermaid who longs to see the human world above.  A chance encounter in which she saves the life of a shipwrecked Prince Eric sets off a chain of events that inevitably ends in their coming together for a panto-style wedding at the end.  Along the way, Ariel is tricked by her evil Aunt Ursula into trading her voice for a pair of legs.  But she must get the Prince to kiss her within three days, or be stuck that way forever, leading to all manner of attempts by her underwater friends to get the Prince to do the deed before it’s too late…

As Ariel, Sophie Hill showed off a strong singing voice alongside good characterisation – we really felt Ariel’s yearning for the ‘The World Above’ and, later, her voiceless desperation was well conveyed both in dumbshow and (to the audience) song.  Alongside her, Ed Mears was a suitably dashing Prince Eric.  However, his was not a particular romantic soul, and the awkwardness of his courting the dumb Ariel was nicely conveyed.  Keith Parish was also spot on as the old retainer Grimsby, initially stern but increasing befuddled by the goings-on around him!

As Sebastian the crab, Ed Morgan retained the Jamaican accent from the film version, which he maintained the very well with extremely clear diction – it was no mean feat to make every word understood!  He also had a funny ‘crab walk’ which accompanied every exit and entrance, to the delight of the audience.  Young performer Emma Williams belied her youth as Flounder in an accomplished performance full of lovelorn, unrequited longing for Ariel.  Ryan-Allen Rose clearly had a whale of a time as the manic Scuttle.   The tap number ‘Positoovity’ at the start of the second half, featuring Scuttle and a bevy of seagulls, was a show highlight – congratulations to Madison Copson for some excellent choreography. 

Beth Marden’s Ursula was nicely malevolent, and made the most of her singing opportunities – ‘Daddy’s Little Angel’ and ‘Poor Unfortunate Souls’ were both expertly delivered.  Great support was provided by Cassie Adams and Penny Hoy as electric eels Flotsam and Jetsam.  I thought their sinuous movement was particularly effective and provided a genuine sense of menace.  No doubt a few of the younger members were hiding behind the seats at times! 

Paul Mitchell Jr contributed a hilarious, scene stealing turn in the second half as Chef Louis, including a madcap chase scene in which he and his fellow cooks chased Sebastian around the stage to great effect.  Completing the principal cast were Russell Hay as King Triton (who, unlike his daughters, is apparently allowed to have legs!) and Ariel’s Mersisters, Lauren Toney (Aquata), Tara Weston (Andrina), Emma Sansom (Adella), Holly Jones (Allana), Kelly Mitchell (Atina) and Grace Kennedy (Arista).  By turns resentful, catty and supportive, their relationship with Ariel was nicely developed.  It was also interesting to see them double as Prince Eric’s possible Princess brides. 

Alongside the principals was a strong ensemble cast of sailors, seagulls, chefs, courtiers and sea creatures, all of whom gave their all to bring some great energy to the group numbers.  The famous ‘Under the Sea’ was a particular highlight, full of movement and fun, with some of the younger members of the audience encouraged to get involved with their rainbow batons.  To accompany the singers, Musical Director Edd Caine led a thirteen piece band impeccably.

Director Matt Bridgewater included some very good movement in the show – I particularly liked the scenes in which Ariel and Prince Eric were carried by other members of the cast to represent them ascending from or descending into the watery realm of the sea.  Ariel’s transformation at the end of Act 1 was similarly impressive, although perhaps the curtain descended a little hastily, before we got a chance to really appreciate what had happened. 

A lot of use was made throughout the show of projected backdrops.  This worked well at times, particularly to create the underwater world of Ariel and her friends, and for the scene in which Ariel and Prince Eric take a boat trip, which was charmingly portrayed.  The Little Mermaid was a very colourful show, in no small part down to the excellent costumes.  The Mersisters and other sea creatures were particularly bright and colourful – well done to the SOS costume team!  

Congratulations to one and all at Studley Operatic Society for another very enjoyable show.  I look forward to seeing you all again next year for West Side Story.

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