Review by Tanner Tate, Front Row Reviewers
I was lucky enough to catch a matinee performance of Disney’s The Little Mermaid at Draper Historic Theatre on a sunny Saturday afternoon. While Little Mermaid is a familiar story to almost anyone over the age of 15 that grew up in a household where the Disney Corporation was celebrated, the stage musical has a few notable differences from both the animated and live-action versions that will bring a fresh take on the story to audiences both young and old.
(NOTE: This show is double cast, and I only saw one cast. My review will reflect my experience with that cast.)
The Little Mermaid is loosely based on a folk tale originally penned in Danish by Hans Christian Andersen in 1837. While the original tale carries a much darker and morose tone, there are many loyalties that Disney brought to the table in their animated adaptation, released in 1989 with an original score written by Alan Menken, who also did the music for the live musical. In Disney’s version, the story follows Ariel (Lydia Arnold), a mermaid princess, and the most beloved of all of King Triton’s (Todd Christensen) daughters. She is forbidden to explore the ocean’s surface, but out of curiosity, she and her best friend, Flounder (Carter Staley), sneak away to observe it anyway. While up there, Ariel sees the dashing Prince Eric (Bradley Barker), a human prince who desires nothing more than to shirk his princely duties and enjoy a life at sea, but in a storm, Eric is thrown overboard and Ariel saves him. While Eric is unconscious, Ariel sings to him softly, but swims off before he can see her face, leaving only her voice in his memory. While Ariel returns home to be reprimanded for her curiosity and disobedience, Eric sets off on a journey to find the voice he heard that saved him. Feeling betrayed and misunderstood, Ariel makes a deal with the infamous sea witch Ursula (Taylore Cahoon), trading her voice for a pair of legs so she may meet Eric in person. The catch, however, is that if she does not get Eric to fall in love with her by sundown after three days, she will never get her voice back, and will be Ursula’s prisoner forever.
I sat with a good friend of mine in the middle of a sold-out matinee, (a notable achievement for an opening weekend,) with a theatre filled with giggling and chatty children. It was exciting to see so many young kids experiencing live theatre. The show opened with Barker leading the ensemble as Prince Eric in the famous musical theatre shout of “Fathoms Below,” as the sailors carried out their chores on the deck of a ship at sunrise. Here we were also introduced to Eric’s bumbling caretaker Grimsby, played by Paul Shaw. Barker carries his part with eloquence and poise, demonstrating Eric as a sincere and honest man, searching only for happiness in his life while being forced into a royal story he has no interest in. His voice is soft and gentle; a welcome departure from many young male leading actors who feel the need to yell their part to get the point across.
Soon after, Arnold takes the stage as Ariel, and we are introduced to her voice, which flutters like a songbird through the room, rich like Swiss chocolate while holding the fineness of top-shelf wine. Arnold equals Barker in her insistence on sincerity while onstage, demonstrating an understanding of both text and character not often seen on community theatre stages, much less in shows developed by Disney. When joined together onstage, Arnold and Barker simply ravish the audience in stunning emotional intimacy, particularly during numbers where Eric is teaching Ariel to dance, (with due credit to choreographer DaMelly Alderate.) Ultimate props given to these two actors for taking my breath away. When I spoke with both of them after the show, they echoed one-another in describing how each has become the other’s “best friend.” Barker said of Arnold, “…she is so kind and genuine. She’s been wonderful.” While Arnold of Barker, “He is such a gentleman, and makes it easy to create magic.”
On the opposite end of the emotional spectrum, darkness falls as Taylore Cahoon takes the stage as the sea witch, Ursula. Cahoon demonstrates a remarkable understanding of comedic timing in her depiction of Ursula, bringing roaring laughter every time she has an opportunity to deliver one of Ursula’s famous “one-liners.” On top of that, Cahoon’s aptitude for powerful singing is second to none. In an abrupt and exciting change of pace, the descent into Ursula’s lair paints a noticeably different and far more dreadful picture, accomplished with spooky set design and strategically placed lighting. Ursula’s scenes demonstrate the most effective use of the stage, (props to director Kylee Larsen,) and it’s apparent that both Cahoon and her loyal yet mischievous electric eels, Flotsam and Jestam (Ashley North, Melissa Van Dam), have taken great care in understanding how their characters interact. North and Van Dam are particularly fun to watch, as their movements are constantly mirrored and well-rehearsed. As with the animated movie, Flotsam and Jestam are two beings of one mind, and these two actresses deliver. It was enough for me to ask them after the show how they were able to achieve such synchronicity, and Van Dam put it simply, “We’re always watching each other.”
Of course, no production of The Little Mermaid would be complete without its host of goofy side characters, such as the singing sea crab Sebastian (Derrick Cain), the clueless know-it-all seagull Scuttle (Dylan Manzanares), and the French chef with anger management issues, Chef Louis (Aidan Kemp). Each of these actors brings their own bit of spice to the stage, particularly Manzanares and Kemp, who each had me laughing out loud with their use of physical and vocal comedy.
However, the musical award of the show must be given to the entourage of mersisters, (Rachel Olson, Amelia Brown, Jackie Marshall, Kate Shelton, Katie Davies, Sophie Manzanares), who brought strict harmonies, soaring vocals, and intricate diction to every song they sang through. In addition, every mersister had their own distinct personality, which they made sure not to deviate from.
The ensemble of the production also had their share of delightful moments. Each member had obviously carefully developed their own characters even though many of them did not have a line of their own. I noticed individual moments of goofy shenanigans onstage throughout the show, whether it was a stingray giving the sign of the Catholic cross at the mention of Triton’s wife, or the various methods of madness that ensue as Chef Louis flies off the handle, chasing Sebastian through the entire palace and wreaking havoc as he does, which all had the audience choking with laughter.
The Little Mermaid at Draper Historic Theatre is a fun-filled journey that young kids experiencing live theatre for the first time and adults revisiting a nostalgic tale will enjoy alike. Filled with fun music, self-aware puns, goofy choreography, and a cast of committed actors, The Little Mermaid will take you on a worthwhile adventure under the sea! Be quick to act, a sold out matinee on opening weekend could mean time is running out to get your tickets.
Draper Historic Theatre presents Disney’s The Little Mermaid by Doug Wright and Alan Menken.
Draper Historic Theatre, 12366 S 900 E, Draper, UT 84020
July 13-15th, 17, 21-22, 24, 28-29, 2023 7:00 PM, July 15, 22, 29 2:00 PM Matinees.
Tickets: $11-$18
Contact: 801-572-4144
Draper Historic Theatre Facebook Page
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