BWW Reviews: Theatre by the Sea Makes a Splash with THE LITTLE MERMAID

Theatre by the Sea continues its 2015 season with a colorful and thoroughly enjoyable production of Disney's The Little Mermaid. With ocean breezes only steps from the theater doors, Matunuck's stage is the perfect host for this tale of undersea kingdoms, fairy-tale adventures, and the power of true love.

This Little Mermaid has multi-generational appeal. While the youngest theatergoers will thrill to see their favorite animated characters brought to life by the actors, adults will both applaud the high level of talent and stagecraft in Matunuck's production and most fully appreciate the script's snappy humor and quick-fire nautical puns.

The 1989 cinematic release of The Little Mermaid marked the beginning of a new era for Disney, with some of the studio's most beloved animated films (including Beauty and the Beast, Aladdin, and The Lion King) to follow soon after Mermaid's smash box office success. All four of these feature films have since made the transition from animation cels to the bright lights of Broadway under the guidance of Disney Theatrical Productions.

Of the three "princess" musicals (the brilliant, breathtaking theatrical wizardry of Julie Taymor's The Lion King stands in a class all its own), Mermaid poses the most daunting challenges for stage production. There are the complexities involved with creating a visually convincing undersea world, and then comes the question of storyline. The cinematic Little Mermaid clocks in a slim running time of only 83 minutes; even with the strength of the movie's award-winning score to support it, the narrative, if taken verbatim from film, would be spare at best.

Doug Wright answered the storytelling question with his script for the stage production. Wright revisited The Little Mermaid's early concept ideas, including the family ties between Ursula and the mer-royals, not only to flesh out the storyline but also to give more substance to the characters themselves. With these revisions, Ariel's actions and the motivations behind them are explored, while Prince Eric's kind-hearted personality and the weight of his royal obligations have the chance to develop more fully. Similarly, audiences learn that Ursula's resentment and insatiable lust for power stem from a deeply personal root, and even King Triton's seething distrust of the human world is explained in a way that convincingly furthers characterization and narrative.

As for on-stage talent, the cast of TBTS's Mermaid is truly ovation-worthy. From Adrienne Eller's wide-eyed, romantic Ariel to each flute-playing newt and harp-playing carp in the ensemble, this company gives The Little Mermaid its absolute all in each and every scene.

Eller is an exceptional Ariel. She brings a mixture of artlessness and strength to the role, and her vocal performance is second to none. Her tone is pure and sweet, with shades of Jodi Benson (the voice of Ariel in the film) in every note. Austin Colby makes for a truly charming prince with lots of youthful enthusiasm and upbeat optimism in his delivery. The stage production of Mermaid features the film's now-iconic musical numbers by Howard Ashman and Alan Menken, but it also introduces new songs by Glenn Slater. These additions include a couple of solo numbers for Prince Eric, and Colby packs a great depth of feeling into "Her Voice" and "One Step Closer."

Eller and Colby enjoy a wonderful on-stage chemistry, and with Wright's adaptations to the script, the actors are allowed more time to let the romance between their characters blossom. The connection between Ariel and Eric is strengthened for this, building up from a place of understanding and appreciation rather than relying solely on fairy-tale intervention to provide a "happily ever after."

The utterly delightful Nkrumah Gatling plays Sebastian the crab, Ariel's music teacher and appointed guardian. Gatling is outstanding in the role, breathing such life and vibrancy into the wise-cracking crustacean that he steals the spotlight in every scene. Sebastian enjoys some of the funniest lines in the script and he also sings two of the most memorable numbers in the show. Gatling's vocals bring down the house during "Under the Sea" and again in the melodious "Kiss the Girl."

Keisha Gilles approaches the role of the dreaded sea witch Ursula with lots of spirit and style. Ursula is a wonderfully villainous character, made all the more treacherous for her ready quips and deceitful kindnesses. While you would not want to be on the wrong side of one of Ursula's deals, she is undeniably fun to watch from the safety of a darkened theater. Gilles is another exceptional vocalist; she brings flair and personality to "Daddy's Little Angel" and her spot-on rendition of "Poor Unfortunate Souls" is bold, brassy, and absolutely laced with danger.

Also to be commended are performances by Zachary Berger for his turn as Scuttle, the tap-dancing seagull with a tendency toward malapropism, and Andrew Holder, who brings spunk and sweetness to Ariel's lovelorn sidekick, Flounder. Robert Conte and Daniel Hurst turn in menacing performances as the ideal evil hench-eels, Flotsam and Jetsam, and Joseph Torello lends his strong, rich baritone to the royal role of King Triton.

AJ Hunsucker's manic portrayal of Chef Louis makes for two of the most memorable and flawlessly funny scenes of the entire production. Hunsucker's "Les Poissons" is an absolute showstopper; later, the song's reprise features a feverish battle between chef and crustacean as Sebastian leads Louis on a life-or-death chase away from the dinner table and all through the palace halls.

Director/choreographer Billy Sprague, Jr. keeps scenes like this focused and full of energy at all times. From the big song-and-dance numbers to quieter more pensive moments, Sprague's guiding hand makes for a streamlined and engaging production.

Scenic designer Nate Bertone creates solid transitions that move easily from an enchanted underwater reef to a storm-tossed ship's deck to the glittering human palace. Bailey Costa's soft aquatic lighting effects add to the underwater environment, and Rebecca Knipfer's flight direction grants mer-people the ability to "swim" above the stage during several scenes.

Costumes by Kurt Alger are beautifully detailed, from each individual seagull feather to King Triton's jewel-encrusted scales. Sebastian's crab shell sports a rich embossed design befitting the Sea King's Court Composer, and Ariel and Eric's costumes, especially, draw clear inspiration from their animated counterparts.

Performances of The Little Mermaid run through August 15, 2015 at Theatre by the Sea. Tickets range from $45-65 and can be purchased online at www.theatrebythesea.com, by phone (401) 782-8587, or in person at the TBTS box office, 364 Cards Pond Road, Matunuck, RI.

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Photo by Steven Richard Photography