Review by Donal Ernest
It is the unfortunate nature of theatre aimed at children, in particular something as well known and ubiquitous as Disney, that its majority young audience will be somewhat restless. It is the added misfortune of this that at times this restlessness distracted from what was otherwise an exceptionally staged and performed production of one of Disney’s most well known and popular adaptations, The Little Mermaid.
The production, directed by Deian Ping, is the story of Ariel (Sophie Mason), the seventh daughter of King Triton (Steve Beck), ruler of the seven seas. A precocious youth, Ariel craves to be a part of the human world despite the protests of not only her father but her friends: Flounder (Jaden Armitage), Scuttle (Skye Shultz) and her fathers advisor Sebastian (Matthew McKenzie). Ariel’s longing is further complicated after a storm prompts her to save the drowning Prince Eric (Aaron Anderson), driving her to make a deal with the proverbial devil, Ursula (Rhona Bechaz), the Sea Witch. As Ariel gets what she’s supposedly always wanted, her friends must do everything they can to save her soul from the unfair bargain she has struck.
Probably one of the most welcome aspects of The Little Mermaid is its relatively bare stage. With roll on set pieces and projected screens, Queensland Musical Theatre appears to have learned from its previous production at the Twelfth Night Theatre, Cats, that less is ultimately more. A very clear level of detail is put into coral, barnacles and rock with no fully realised set. Having more attention to quality rather than quantity also allows for considerably more freedom for the performers to explore the stage space, allowing the wonderful choreography by Julianne Burke to breathe and show off to a strong degree. An early highlight of this is Fathoms Below, set aboard Eric’s ship as he voyages, but is probably best highlighted in the show’s two major ensemble numbers Under the Sea and Kiss the Girl. Despite a cast of 49, the stage never feels crowded, greatly complimenting the overall performances.
A massive amount of praise should go to the technical side of The Little Mermaid. Through subtle lighting changes, there is a strong conveyance in setting, bolstered by very clever usage of both smoke and bubbles, the latter of which is used when characters submerge in the water. A simple trick, but nonetheless effective. The only major downside to the production tech is in its usage of projected backdrops, specifically its usage of animated sea life during Under the Sea. Whilst able to convey the intended idea, the animated characters themselves stand out as looking very, for lack of a better term, cheap and as a result are quite jarring, drawing focus away from what is probably the show’s most well done number.
Costume design by director Ping is for the most part exceptionally done. To detail each individual look would ultimately be fruitless as picking a favourite has far too many options, ranging from the steampunk influence lobster of Sebastian to Ariel’s instantly iconic green dress. However particular mention should be given to Ursula’s tentacled dress, highlighted by fairy lights to give a distinct and instantly recognisable sense of dark glamour. On the other end of the spectrum when so many of the major costumes are excellent, it is unfortunate that Scuttle’s seagull attire (and by extension the ensemble during the otherwise energetically entertaining Positoovity) stands out as looking quite cheap by comparison. Though Schultz’s performance is most definitely a highlight of the show, projecting an over the top energy to rival Jim Carrey, there is a sense that the look doesn’t equal the level of the performance.
The Little Mermaid herself is portrayed by Sophie Mason in a captivating performance. Ariel is a massively positive force of will and Mason absolutely delivers in spades. It is all the more impressive that she is able to carry over this sense of naïve hope for a portion of the production mute, communicating emotion and story through facial expression and body language. By no means is this an easy task and Mason should be commended heavily. However it is through her vocal performance that Ariel really comes to life. Even in the rare occasions where unfortunate sound mixing renders a portion of her singing inaudible, Mason more than makes up for it when she is allowed to fully show off what she can do. An absolute standout is Part of Your World, where Mason gives a vocal performance on par with Jodi Benson’s original performance in the 1989 film. To say nothing of her fantastic chemistry with co-lead Aaron Anderson as Prince Eric. Anderson easily carries himself as a leading man, carrying a dashing swagger that at times echoes Errol Flynn. A common criticism of Eric’s original character is that he was somewhat generic, but the same cannot be said of Anderson’s portrayal. He craves adventure over tradition, leads with his heart over his sense of duty, and is an easy character to root for.
As Ursula the Sea Witch, Rhona Bechaz is an over the top diva in the same vein as a decadent Bette Midler in the best way possible. Everything about her is elevated with a degree of vanity that perfectly shows off the character, and her fantastic rendition of Poor Unfortunate Souls is a fitting end to the first act. Likewise, Matthew McKenzie as Sebastian absolutely steals the entire production. Maintaining a sense of dignity whilst also portraying a high level of anxiety in his characterisation, McKenzie absolutely dominates any scene he is on stage for, and his vocal performances in Under the Sea and especially Kiss the Girl are phenomenal. It is in the latter however where the restless audience unfortunately threatened to derail an intimate and very beautifully staged number, however McKenzie is able to win it back with a masterful performance.
Another highlight in the production’s cast comes from Jaden Armitage as Flounder. Though a young performer, Armitage has a strong sense of energy (reinforced by the use of wheel shoes in a brilliant costuming idea) that is infectious. Ariel’s six sisters as well each bring a unique charm to their performances, making for a memorable presence. Emma Parkinson, Kiana Tann, Samantha Hancock and Constanza Acevedo Burckhardt all have a strong sense of sisterly energy, being fittingly catty at the supposed favouritism their father shows to Ariel to an entertaining degree, However particular mention should be given to Rhys Schwarten who probably plays it somewhat more sympathetic, in a particular humorous exchange in the show’s second act with Stacie Hobbs after Ariel’s disappearance.
There is one other member of the cast that definitely earns mention, and that is Roh Whittaker as Chef Louis. Though only featuring in the performances second act, Whittaker treats every second they are on stage like they’re the star of the entire production. An over the top caricature of a French chef (with a somewhat bizarre obsession with seafood), the chaotic Les Poisson and its subsequent successor Les Poisson Mayhem is wonderfully energetic and serves as a massively entertaining showcase of not only Whittaker’s talent, but also the ensemble comedic timing.
Music direction by Julie Whiting from the start of the production is probably The Little Mermaid’s overall largest strength. Whiting’s orchestration, utilising a 14 piece band, is arguably her best work to date. At no point does it feel like anyone is off their game, and a sense of wonder flows through every note. Slight leveling issues mean that the music occasionally is overpowering the performer’s vocals, but this is no fault of the orchestra. Of particular note is the show stealing number Under the Sea. But it is when the music actually takes a slower pace with more intimacy, especially in Kiss the Girl, that it draws the audience deeply into the scene. Audience restlessness did threaten at points to ruin the mood of the piece, which is unfortunate but by no means the fault of Whiting or her massively impressive band and their work.
The Little Mermaid from Queensland Musical Theatre exceeded all expectations held, and served as a fantastic end to the company’s year. The entire company should be exceptionally proud of their efforts, producing a production that is equal parts magical and epic, bolstered by phenomenal performances, choreography and orchestration. Even the production’s missteps are not enough to derail what is a wonderfully entertaining effort.
The Little Mermaid will play at Twelfth Night Theatre until Sunday 22 October. Tickets on sale now.
Bravo Brisbane 
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