My Thoughts on THE LITTLE MERMAID (Long)

[Yankeefan007]

"You gotta have heart. Miles and miles and miles of heart..." --Damn Yankees.

Sadly, Disney's The Little Mermaid, the newest venture by Disney Theatricals, has none. It is a bland, soulless, poorly written spectacle that makes me yearn for Walt Disney World's "Voyage of the Little Mermaid" attraction.

Ariel wants to be human. She doesn't want to be a mermaid. So she sells her soul to the devil, in exchange for her voice. She meets Prince Eric, but she can't talk. And he has to get married, so he stages a singing bee, to figure out who has the perfect voice, one which he has heard once before. But none of his suitors do, except Ariel, who, in the end, gets her man, devil be damned.

It's a simple plot - one of the simplest known to man. Simpler, in fact, than the highly successful film version, upon which this is based. But we won't get into the film version, since, as the saying goes, they're two different merfolk.

Perhaps the biggest problem with the show is the idea of style over substance. True, there are some very nice, very attractive stage pictures ("Kiss the Girl," for example), but for the most part, but it seems like none of the designers met before the first preview. They each did their own thing - George Tsypin, the renowned set designer wanted to go for a sleek, modern look, creating an entirely plexiglass set which consists of two large sculptures which bear striking resemblances to corkscrews.
Tatiana Noginova, who designed brilliantly striking costumes for the mammoth "War and Peace" at the Met, seems to mesh realism with the opposite of realism, creating creatures which look realistic (the Mermaids, for one) and exactly the opposite (Flounder, in a yellow T-shirt and shorts).
Only Natasha Katz, one of the most brilliant lighting designers in the business, manages to mesh all the various design schemes together, as well as prove why she's one of the most brilliant lighting designers in the business.

Doug Wright's book reveals how clever and witty John Musker and Ron Clements' screenplay actually was. How does he do so? Only the lines from the movie are truly witty (yet many fall flat, due to a variety of odd line-readings). I expected much more from the man who gave a voice to a German transvestite and two hags with a bunch of cats. While the first act goes over swimmingly (pun intended), the whole second act needs to be rewritten. Bland is putting it kindly. Characters are terribly underwritten, holes are glaring, and it truly shows how a) thin the plot was to begin with and b) how more theater organizations (other than the non-profits) should use dramaturgs to help massage the details. Perhaps Linda Woolverton, whose book for Beauty and the Beast was a delightful counterpart for the movie, would have been a better choice.

Alan Menken and Howard Ashman's score is as glorious as ever, especially with Danny Troob's big, brassy, Broadway orchestrations. The additional material by Glenn Slater doesn't necessarily fit in with the show itself and is mostly pretty forgettable. Anyone notice how much "Good Times" sounded like "If They Can See Me Now"?

John Tracey Egan has a great cameo as Chef Louis. Norm Lewis is completely wasted as King Triton. He gets to show his abs, but his pipes aren't anywhere to be found. Sean Palmer is 100% forgettable as Prince Eric. Tituss Burgess is an atrocious Sebastian, with a terrible Jamaican accent. Eddie Korbich and Jonathan Freeman barely register. JJ Singelton is a cute Flounder, though he disappears in the second act until the last 10 minutes. I figured he had been filleted.

Sierra Boggess is the perfect package. She makes an impressive Broadway debut, with a beautifully clear legit voice, enthusiasm to beat the band, and a killer body. It's just that Ariel is a bit too one-note. Again, a problem with Wright's book.

And, mark my words, this will be Sherie Rene Scott's Tony. I need not say more...though I will be happy to elaborate, if asked.

I blame Francesca Zambello for the problems. It's clear she was in way over her head (pun intended). She has no idea how to stage a musical, and choreographer Stephen Mear obviously couldn't help. Songs like "Under the Sea" should be showstoppers, yet none are, because of his bland, unimaginative choreography.
Zambello has directed in the style of Julie Taymor - lots of imaginative, modern ideas that just aren't up to the par of Julie Taymor. They talk, stand still. They sing, dance rudimentary choreography, or stand still. Then they go back to standing still again. I actually did enjoy the heelies.

Zambello, as I understand it, has gone out of the country to watch the closing weekend of whatever opera she cares more about. Though her work here was done anyway. She staged the damn thing, now the real director takes charge (and we all know who that is - in a nice seat in the 10th row on the aisle).

But he won't change anything. The show will remain as it is. And sadly, I must give it a "C." Pun intended.

[catstagestud]

Well I'm glad you enjoyed Sierra and Sherie. I do agree with the issues on the book. I felt like there was something missing in it; however I had an enjoyable night at the theatre when I saw it in Denver.

Cheers,

Christopher

P.S. I agree with you on Sherie's Tony; I've been saying it since August 14th!

[adamgreer]

"And, mark my words, this will be Sherie Rene Scott's Tony. I need not say more...though I will be happy to elaborate, if asked. "

I liked the show a lot more than you, but I agree with that statement whole-heartedly. She definitely stole the show.

[nomdeplume]

Thanks for the review. Nothing I've heard about the show so far has me dashing to go and see it.

Could you elaborate on why SRS should get the Tony? Is she alone worth the price of admission? I've heard her sing in DRS and she has a great voice.

[ray-andallthatjazz86]

Can you talk more about Sherie's rendition of "Poor Unfortunate Souls"?
It sounds like you just confirmed my fears about the show. And you made an excellent point, the plot was thin to begin with. I just re-watched the movie last night and was quite surprised at how little of a plot there is. Mind you, I think it's an excellent Disney film, and it works great (the Broadway musical style is brilliant and the Menken/Ashman score is witty in ways we rarely see on Broadway anymore). But the plot itself is so simple and slightly trite (Specifically the Eric/Ariel relationship). I was hoping the Broadway show would work on those issues, and provide some depth to it.
Sad to hear that was not the case.
I still want to go if only to check out Sherie's turn as Ursula. The woman can do no wrong.

[CurtainPullDowner]

Sherie is one of our NYC Theatre treasures, and is of course Tony worthy, but the competition this year is first rate.
And if this show is as hated by the community as the last few DISNEY shows, watch out for Kritzner, Benanti, Testa, Hoffman, Foster, Martin, and a few others to give her a run for her money.
Your thoughts are well thought out and backed up, especially the "real" director whose ego is about to burst in a few "Million" pieces.

[adamgreer]

Are we to assume the "real" director is Schumacher?

[rosscoe(au)]

Yankee,

Great review, i have a feeling this wont be one of the Disney shows we will see over here!

But can i ask ( cause iam a bit lost ) who is the real director sitting in the 10th row?

[BrianS]

I really hope Sierra gets a nomination. Great actors can take mediocre material and make it seem better than it is and she definitely did that for me in this show. That girl is definitely earning her paycheck (and then some considering what Disney pays).

[B3TA07]

Wait, so I don't get it...did you like Sherie renee Scott or not??

[Lance2]

"I blame Francesca Zambello for the problems. It's clear she was in way over her head (pun intended). She has no idea how to stage a musical, and choreographer Stephen Mear obviously couldn't help."

Still Zambello directed a marvelous production of the musical Rebecca in Vienna, Austria. Which proved to me that she is a brilliant director.

I fully agree that TLM isn't the best show out there. The score is screaming for Broadway but the staging will alway be a problem for this kind of show.

When I heard the demo songs I was very surprised by the quality of Glen Slater's lyrics which are very near to Ashman's work (at least more than Rice's).

[ray-andallthatjazz86]

Let me ask a rather naive question, I have not seen the show and I'm a big fan of the film so I do not mean this with any malice or cynicism: is it possible that the film was just not meant to be adapted to the Broadway stage regardless of who directed it? When I was re-watching the movie I just kept thinking this was such a cinematic piece.

[Lance2]

It really is. Some things work on screen, but not on stage. Same with Moulin Rouge, I've seen three stage adaptions and all sucked.

Still Menken's score almost demands an stage adaption. You can see why they wanted to do it.

[RentBoy86]

I think it's hard for some people to understand, but not everything belongs on stage - even things that seem like they would work just seem to fall flat. I'm just really pissed that the director of the show would just leave like that. I understand it's the closing weekend, but come on! You have a new show opening in New York on Broadway and it's not ready to open. Disney should have taken advantage of the strike and had Dough Wright rewrite some of the script, or they should have sat down and hacked out some of the changes. I still can't believe that Flounder's costume is still what it is.

[songanddanceman2]

Yankee that was a superb review

[Yankeefan007]

Crap, I keep forgetting about Benanti! It really is gonna be a tough race this year.

nom/ray - The thing is that none of the supporting players (save Sebastian) are on stage for longer than a solid 20 minutes. Sherie, let's say, is on for a half hour, since she has two songs. "I Want the Good Times Back" is an old fashioned Broadway ("I Want") number, in the style of (and same exact tune as) "If My Friends Could See Me Now," from Sweet Charity, complete with tentacle kick line. It's a solid song, but not half as good as anything Ashman came up with.

And then there's "Poor Unfortunate Souls," which is just a very well written song, and Sherie knocks it out of the ball park. And they let her finish on some really high note that she holds for a long while (I don't recall what note it was, but it was up there).

Sherie truly sells her half hour and turns in what ends up being the most memorable performance in a sea of flounders. Even though they completely destroy the "Ursula transforms into a pretty woman to win the prince" and turn it into a creaky denouement which ends in a Wicked Witch of the West-esque melt.

What I enjoyed most was that unlike pretty much everyone else, hers was a completely original characterization. There's obviously no way to compare her to Pat Carroll, whereas you can make a big case about Sierra and Jodi Benson, Tituss Burgess and Sam Wright, etc.

Norm, on the other hand, is a case of talent not being able to overcome the material, since has absolutely no opportunity to do so. Not even a full song? Come on! I will say that in the scene where he destroys Ariel's Grotto (isn't that what they called the area in Disney World, too?) he taps into this deep, dark anger, which perfectly defines the idea that he is Ursula's brother. Very strong characterization.

Rosscoe - yes, Tom Schumacher.

Lance - I've heard incredible things about Zambello's operas, so I have no doubt she's a good director. I just don't think she was a good choice for this particular show.
I agree that Ashman/Menken's score is crying for a theatrical production (certainly moreso than Tarzan (which this is 20,000 Leagues better than)). You can't help but dancing in your seat to "Under the Sea."

I just don't think it's properly serviced. The audience went nuts for Sherie, after all her numbers, but everything else was greated with a little more than respectable applause. Seems like they enjoyed the whole thing...they were on their feet from when Sebastian bowed.

[jaystarr]

Bad, Bad, bad.... Hmmmm... Why Am I not suprised, though I am seeing this one three weeks from now (why did I even bother?)

Thanks for a great review again, Yankee.. I actually saw August : Osage County this weekend (my report will be posted soon) and I am glad I did

I was not suprised with your assements about the Director. When the ship goes down ...the captain must go down with it too!

Though I really really doubt if TLM will get any nods at all... after reading all these negatives reviews ( from reliable posters here) but I could be wrong?

I will see it three weeks from now...but for now... I will take your words!

J*

[Testing1232]

Jay,

While Yankee did post a GREAT review (as usual), there are plenty of people (myself included) that did like the show.
Oh yes, it has problems.. (I REALLY hate the costumes, except for Sherie's), but depending on your expectations, it can be an enjoyable time at the theatre. The biggest problem that I have with going is the people that insist on bringing 3-4 yr old children to the show.

Come on, people !!

Sherie, Sierra, and Tituss (respectfully disagree with Yankee on this-- I liked him), are worth the price of admission.

As far as Tony noms.. Sherie WILL get one, but from what I saw of Benanti, she would win.

Basically, go in with an open mind. You might enjoy it !!

[Pathymo]

I saw the show on Tuesday, Dec. 4th, and while I agree with much of what you say, some I do not.

I certainly went in with my expectations not so high. Everyone had been saying how horrid the costumes were, how the choreography was bland.....and from what I saw from the "site that shall not be named", it looked pretty bland and uninteresting. However, I was pleasantly surprised!

I thought the set worked very well, and was quite beautiful (even the giant bongs). Coupled with the lighting, it created a vibrant picture of the under-sea world. I thought the costumes actually worked quite well (and believe me, I had my doubts), and was not at all distracted by Flounder's costume or the Mermaid tails. I think if you look at it from the perspective of "Francesca Zambello directs a lot of Operas", the whole look makes sense. Ursula's gown is absolutely something I could see in an Opera about a Sea Witch, and I think it works well on stage (though it is far from the literal costume translation of, say, Beauty and the Beast).

For me the weak links were Norm Lewis and Sean Palmer. While some of it may have been the book writing, I felt Norm's Triton was nothing more than a VERY poorly put on voice that lacked any kind of real substance. I was reminded of what one learns in a first year acting class--- "Get rid of the acting VOICE"! I thought Titus was outstanding as Sebastian--before I went in, I thought "How could they have cast a mega-tenor in this role? Sebastian is supposed to be a Bass/Bariton!", but Titus completely changed my mind. His 'Under the Sea' was spectacular (and while the number itself may have been less than eye-popping, it was still fun). I completely agree about Sherie--her interpretation of the role is fantastic and fresh. I feel Sierra also has a fresh interpretation of the role, and I didn't feel that she was completely a carbon copy of the film Ariel which was nice. Also, aside from her crystal clear legit, that girl has a nice belt!

The new songs are.......well, they should be cut. And the ending is kind of a complete mess. But I do like the change at the end with Ariel and Ursula.....makes Ariel stronger, more independent, and a little more kick-ass :)

Overall, I enjoyed the show, and maybe its where I sat too (Orchestra row E). I would say B+. I enjoyed it more than "Beauty" and "Lion King". And if you have tickets and are now fearful, I would say go in not expecting one thing or the other--just have fun. Otherwise, you'll spend the entire night picking it apart and really miss out!

[James2]

Actually, when I heard "I Want The Good Times Back" on that site, it reminded me a little bit of "Perfectly Marvelous" from "Cabaret".

[jaystarr]

Testing,

Can you pls repost your reviews? I miss it somehow



****
The biggest problem that I have with going is the people that insist on bringing 3-4 yr old children to the show.

^^ that one could be a problem ..like when I saw Mary Poppins. I actually pick up an 8 pm show (with my sisters & of course I will be spending the night in NYC) bec. of that issue...

Thanks

J*

[jaystarr]

sorry double post.. I accidentally pressed ENTER 2x by accident...

******

Edit : BTW- Since I open 2 posts already : (Sorry to thread jack)

How's the snow in NYC this morning? The snow in Boston this morning is like 13 inches....The streets are NOT EVEN PLOWED yet .. Its good I went to NYC yesterday or else my A:OC's day trip will be cxld for the 3rd time ..Talking about good timing!

( But my Xanadu location pictorial will probably postpone today )

J*

[Testing1232]

Hi Jay,

Gotta try and track down my review ( was more of a brief synopsis)- Kind of crappy here in NYC today-- I think the snow has stopped, but a slushy mess !! (

[Brave Sir Robin2]

I agree with Yankee: Linda Woolverton needs to come in.

[Yankeefan007]

I'm sure many people will disagree with me. Doesn't make me unhappy.

And yes, I'm glad someone agrees that Linda Woolverton should be brought in. The show needs a Doctor, and Woolverton is already proven with Disney.