The Disney version of THE LITTLE MERMAID (playing at the Strand through Dec. 6th) was a wild success as
an animated film, then yet another success for Disney on the stage. How I have
resisted seeing either version until now is beyond me! Now that I have
witnessed the captivating musical, I understand why it’s such a crowd pleaser.
The Alan Menken music is catchy and hip, smartly borrowing a tune or two from
Saint-Saens—and the Howard Ashman/Glenn Slater lyrics are cheeky enough for
adults to savor.
Doug Wright’s clever book (based on the Hans Christian
Anderson tale) references far flung topics like ocean conservancy and even
vegetarianism (King Triton warns his fellow sea creatures against the barbaric
humans’ hooks and traps)…He disapproves of dating outside one’s race (of
course, it’s ‘species’ in this case) … and Wright gives Teddy Roosevelt a nod (who
famously quipped that he could either run the country or rein in his daughter
but not both). Triton, like TR, can’t keep his daughter, Ariel, away from a
human prince and govern a kingdom at the same time.
That prince is, of course, mighty charming but Jared Troilo
makes him more than a cipher. He’s got gumption, backbone and a funny bone, to
boot. Jesse Lynn Harte as Ariel, too, makes us believe she’s got spunk. She’s
willing to do whatever it takes, including the loss of her home, her friends
and her voice, to land her prince.
Director Stacey Stephens has a crackerjack cast to bring
every eel and crustacean to buoyant life. His delightful costumes capture the
essence of the characters, like lobster claw gloves and golf ball eyes perched
on top of Sebastian’s head, to signify a crab. Triton has assigned Sebastian
the formidable task of keeping an eye, or two, on his wayward, windward
daughter.
Lucky for us because Sebastain, who hails from Caribbean waters, has two of the best songs in the
musical: the calypso show stoppers, “Under the Sea” and “Kiss the Girl.” Jay
Kelley is spectacular in the role, wringing his claws over Ariel’s disregard
for safety…even endangering his own by getting awfully close to Andy Papas’
palace chef.
Best of all is Shana Dirik as the villainous Ursula. Poor,
wretched creature: She lost out when her brother became ruler of the sea.
Andrew Giordano as a stalwart Triton doesn’t brook much mischief in his waters
so Ursula steers clear of her brother—but manages to reel in his unsuspecting daughter.
Dirik brings the house down with her vengeful, sardonic
anthem, mocking her enemies as “Poor, Unfortunate Souls.” Thank heavens she
gets to reprise it in Act II. Dirik is sublime, in her Phyllis Diller wig and tentacle
skirted, sea foam gown. She devours the scenery, as they say, and we can’t get
enough of her high voltage performance.
In case you’re giving this a literal read, I should say that
there’s lots of Mac Young’s ingenious scenery left. Especially lovely are the
waves which rise as we plunge down into the water to observe the skates and
jellyfish in the deep. Kira Cowan-Troilo’s beguiling choreography for the
creatures makes their limitations an asset, as in Eddy Cavazos’ amusingly
awkward attempt to keep up with the other gulls in their gavotte. Charles
Peltz’ orchestra sounds so full and robust that you’re happily swept away with the
swelling music to the land of mermaids.
