Review: SEA WITCH, Theatre Royal Drury Lane

Staged at the cavernous Theatre Royal Drury Lane, Sea Witch arrived with the sort of fanfare usually reserved for tried-and-tested crowd-pleasers. Instead, this world premiere exposes the perils of unveiling an unpolished new musical on one of the West End’s most imposing stages.

This production by Kristopher Russell and Michael David Glover is adapted from the book Sea Witch by Sarah Henning, which is itself inspired by Hans Christian Andersen’s The Little Mermaid, and attempts to chart the life of a young woman named Evie (Natalie Paris) navigating grief, forbidden magic and romantic longing. It is an enticing premise. Unfortunately, what unfolded was a muddled and tonally inconsistent narrative that never quite decides what it wants to be, jumping from gothic fairy tale, to pantomime to romantic love story.

The production lurched from exposition-heavy dialogue to abrupt musical numbers with little momentum. Characters were introduced in quick succession, yet few were afforded sufficient depth to justify their presence. Plot twists landed with confusion rather than impact, and by the second act the storytelling had grown so clumsy that laughter rippled through the audience at moments seemingly intended to impart sadness and grief. If it weren't for the very helpful synopsis featured in the programme, I would have been totally lost.

Musically, composer Segun Fawole’s score aims squarely for contemporary pop. There are flashes of melodic promise and several numbers boast rousing choruses that seem engineered for standing ovations and yet the songs rarely advance the story, while several bear strong resemblances to songs from other musicals including Dear Evan Hansen and Six. The decision to rely on pre-recorded backing tracks rather than live musicians proved particularly detrimental in a venue of this scale.

Visually, the production spared little expense. Bold lighting effects swept across the stage and costumes shimmered under the glare, though spectacle alone could not compensate for overall shortcomings. Direction and choreography veered between static concert presentation and half-realised staging, creating an awkward hybrid that never really satisfied either approach.

The cast, however, laboured valiantly. Paris brought vocal firepower and sincerity to Evie, imbuing her with as much emotional credibility as the script allowed. Amy Di Bartolomeo (as Annemette) offered commanding presence, while Mazz Murray (playing Queen Charlotte) delivered her showstopping solo with thrilling assurance, earning her a well-deserved standing ovation. Even Michelle Visage (as Tante Hansa), in a supporting role, committed gamely to material that afforded little nuance.

There is, undeniably, potential in the concept of Sea Witch, an origin story of a misunderstood villain has all the makings of a hit production, but potential alone is not enough. Premiering in a venue as vast and unforgiving as Theatre Royal Drury Lane has only magnified the show’s structural shortcomings. With rigorous development and a clearer artistic identity, this tale might yet find firmer footing. In its current form, however, it feels adrift.

Sea Witch was performed at Theatre Royal Drury Lane on Sunday 1 March. 

Photo Credits: Danny Kaan