The Little Mermaid

The Little Mermaid originated as a much loved Danish fairy tale by Hans Christian Andersen. In 1989, a Disney cartoon adaptation was released. It was a huge critical and commercial success. In 2007, the stage musical first opened.

For this their 2025 production, YESPA employed the dream team of: director John Harries-Rees (assisted by Ruth Cheek), with Jamie Cordell as Musical Director and Choreographer Lindsay Swift.

The opening set was lovely: with the cyclorama lit with aquamarine, skeletal shapes of a mast & ship’s wheel, artfully placed boulders and gentle ripples of light. Lighting was very good throughout.

Stage management was slick, with changes made efficiently. Big shout-out for the Fringemeister…for his heroic efforts to drag the giant seaweed fronds back and forth. Furniture and props were attractive and appropriate…everything worked.

Sound effects were well presented and principals’ voices were clear. Jamie Cordell’s band were cunningly concealed under the sea  under the stage, from whence they gave a fine, rich sound that beautifully complemented (and never dominated) the singing. Lindsay’s dance routines were always attractive, whether they were for the different teams or for the whole ensemble.

The Costume Team, led by June Yasuda and Tracey Brammar, created fabulous outfits for the principals; and the ensemble’s outfits were well chosen for their characters. Chaperones and costume helpers deserve great praise for delivering so many children, so well attired to the correct places.

Ariel, The Little Mermaid (Henriette McArdell), was sweet & vivacious and had a delightful voice. She sang the opening number, The World Above, from the undersea foreground whilst the land folk were in shadows behind. Her beau, Prince Eric (played by Edwin Lawrence), was the full Disney hero; and he too sang well, particularly in One Step Closer.

Ollie Large played Ariel’s father, Triton, with great authority and maturity. Ursula (Trixie Lawrence), his sea-witch sister, was an excellent villainess…wicked and wonderful. This was another mature performance…that had echoes of Bette Midler.

Ursula’s minions were the eels, Flotsam and Jetsam (played by Delilah Skyrme and Evie Penton). Their sinister and sinuous movements were evil personified and they electrified the stage. 

Callum Cleeve delighted as Sebastian the Crab, with voice & movements that were camp & comical. His fine song Under the Sea formed the basis for a beautifully arranged ensemble dance. In Les Poissons sung by Chef Louis (Harry Stock) there was glorious, comic mayhem…with said Chef vigorously pursuing the crafty crustacean.

If Only was well lighted and beautifully sung, featuring the quartet: Ariel, Eric, Sebastian and Triton.

Kit Kinsella played Grimsby with a buttoned-up enthusiasm that was infectious; whilst Isaac Howatson was cute as Flounder, the love-struck best friend of Ariel.

Scuttle (Phoenix Woodford) was an amusing character with his jerky movements and frequent malapropisms. He led the Sea Creatures in Act II’s excellent opening number Positoovity/Positaggity, accompanied by the wonderful Tap-dancing Gulls. Jonathan Grey’s Pilot displayed good stage presence and projection; and led the Sailors etc. in Fathoms Below.

The Mersisters were a well co-ordinated, fun, bickering bunch,  displaying their singing and movement with the great retro number She’s in Love. And in The Contest, the Princesses vied with each other for the hand of Prince Eric.

The Maids, Trumpet Fish, Chefs and Sailors all worked well together; and the whole, huge cast were expertly directed in their songs, dances and interactions. All of them appeared to be content, confident and so very competent. The Finale Ultimo was a joyful finish to a beautifully presented production.

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