Sydney
The Little Mermaid began the Disney Renaissance and launched a whole new breed of more overtly feminist princesses. Ariel is feisty, adventurous, and defiant. She’s more recognizably flawed than the princesses who came before her and more adamant about achieving her dreams on her own terms.
And now we have the musical which seems to have songs I do not remember from the film (but hey! 1989 was a long time ago and these added songs really show off the talent.) Birdie Productions brings us The Little Mermaid for the autumn holidays with beautiful voices and a show guaranteed to enrapture every little girl (and hopefully, boy!) who is lucky enough to have this as a holiday outing. Jaime Hadwen is very much the animated Ariel brought to life and Hadwen manages to channel much teenage single-mindedness into the role. Her romantic support, Tom Ragen as Prince Eric, may lack the floppy hair but has the voice to carry him off and a similar single-minded purpose in tracking down “the voice” which saved and entranced him.
It was always going to be a challenge to present a show half of which happens “Under the Sea’ (joyously done by Julian Kuo as Sebastian) with characters who swim rather than walk. This was most effectively and sensibly handled by the use of seamless video (Ash Bell) and animation design (Isabella Spagnolo) which cleverly yet minimally set atmospheric scenes ; some with more success than others. There is a challenge in achieving a high enough resolution with this sort of scenery and the sea scenes were the best of these. Especially Ursula’s.
Ah Ursula! Michele Landsdown’s Ursula makes it possible for every jaded adult to sit through a teenage love story. Not just a fabulous voice, she indulges in playing wickedness so flamboyantly and deliciously I am sure every woman there wanted to be her – just for a little.
There are many fine moments and deft characterisations in the musical – and lovers of the film will find them all. The chorus multitasks and provides the colour and movement to stop little ones wriggling in their seats. There is charm in Kai Lloyd-Jones Flounder, much humour in Dave Collins’ Chef Louis, a tap dancing Scuttle (Jonathan Nash-Daly) and suitable sister rivalry in Ariel’s mermaid sisters. There is much more besides.
A very on-tune orchestra led by Joshua Ransom manage to support the show from another room, overcoming the lack of an orchestra pit with a panache to be envied by larger orchestras.
The Disney Princess is a conflicting issue for a modern woman. From a young age girls learn that female characters—even well written ones like Hermione Granger and Princess Leia—are sidekicks, not heroes. Except, of course the Disney Princess. These princesses are not flawless role models. Their impossibly slender, stunningly beautiful looks reinforce limiting beauty standards and the plots centre on romance. But the Disney princess offers a surprisingly diverse view of the female experience, ranging from the traditionally feminine Cinderella to the more rebellious, masculine Mulan. These women are powerful, strong, and rational, but they are also emotional and sensitive.
Birdie Productions makes it financially possible for many families to go to the theatre. Take advantage of this and pack up your little ones – boys and girls – for a day out where for once, a female is the main character in her own story. I can’t think of a better outing these holidays; and how much excitement will and good behaviour will be generated in households where the parents announce “We are going to see The Little Mermaid – live!”
Kate Stratford – Theatre Now
All photography by: Grant Leslie.
