The Cast of "Little Mermaid" (photo: Eric Antoniou/Fiddlehead Theatre) |
For the moment, thanks largely to the excellent
Choreography by Kira Cowan Troilo, the inventive Costume Design by
Director Stacey Stephens, the lively Music Direction by Charles
Peltz, clever Scenic Design by Mac Young, and complex Lighting Design
by Zach Blane, they're in a good place. There is also fine Sound
Design by Brian McCoy and sometimes pesky Flying by Foy. It's in the
source material where the show too often (you should excuse the
expression) flounders, with hopelessly over-padded music and
dialogue. The original film's Music by Alan Menken and Lyrics by
Howard Ashman (with some additional lyrics by Glenn Slater) included
several such top-drawer songs as “Part of Your World”, “Kiss
the Girl” and of course “Under the Sea”. These three numbers continue to delight, but most of the musical
numbers added for the stage are instantly forgettable (with the
exception of “If Only” sung by the impressive Andrew Giordano as
King Triton), some even irritating, such as “Positoovity”.
The cast, every member proficient both in singing and
dancing, is led by Jesse Lynn Harte as Ariel, ably supported by Eric
(Jared Troilo), Sebastian (Jay Kelley, especially notable for his
movement in the “Under the Sea” sequence), and other characters
with such names as Grimsby (Ray O'Hare), Flotsam (Chris Pittman), Jetsam
(Carl-Michael Ogle), Scuttle (Eddy Cavazos), and, yes, even Flounder
(Scott Caron). Standouts are the prance-on role of Chef Louis (Andy
Papas) and the powerful voice of Ursula (Shana Dirik). In the acting
department, most could profit from a dose of subtlety, but that might
be too much to expect from a show with this target audience in its
sights.
The main weakness of the show is the Book by Doug
Wright, a real surprise, given his noted previous work (“I Am My
Own Wife”, “Grey Gardens”). There are a few other relatively
minor quibbles (the too-visible wires that make characters “fly”,
the mermaids with quite discernible feet, the occasional mugging) but
in the end it's the enjoyment of the children (and the childlike
adults accompanying them) that truly matters. While the 1989 film
remains far superior, and, though it sounds fishy, a non-animated
film is in the pipeline, this version, in its across-the-nation
popularity, has proven that Hans Christian Anderson's heroine still has
legs.
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