Review - The Little Mermaid: Sue Me, I Liked It

Although I was set to see The Little Mermaid shortly after its opening, an actor's absence due to illness resulted in the rescheduling of many press seats to later dates, which is why I'm posting this a good two and a half weeks after the big night. Live theatre, kiddies.

I can't say I know much about this "Disney Magic" they keep talking about, but I do know a bit about the magic of Musical Comedy. And apparently, so does director Francesca Zambello. If you require all of your musicals to emotionally pull you into the story and make you really care for the characters, you're probably not going to be happy at the Lunt-Fontanne these days. But if, like me, you're a sucker for shows that feature a cast full of show-biz savvy performers who get to plant themselves downstage, unhampered by overblown production values, and really connect with an audience as they do what they do best - perform! - then you might very well find yourself having a blast at this one.

Sure, The Little Mermaid has its imperfections that jump out at you. Doug Wright's book, and even some of Zambello's directorial choices do cause the story to suffer a bit, and Stephen Mear's choreography is generally little more than serviceable. But the flaws rarely get in the way of the show's major plusses (the performances, score and design) and by the time the most delightfully corny finale cue in many a season signals a few extra chorus of "Under The Sea," the evening adds up to a socko time.

The songs Alan Menken wrote for the animated feature with the late lyricist Howard Ashman has been beefed up with some spirited new numbers by Menken and new lyricist Glenn Slater. One of them, the merrily silly "Positoovity," has Eddie Korbich, one of Broadway's most entertaining song and dance men, wearing a beak on his head and leading a chorus of tap-dancing seagulls in a snazzy vaudeville turn. I've seen a lot of musicals that could have been greatly improved by having a chorus of tap-dancing seagulls doing a snazzy vaudeville turn.

Another new one, and damn me for saying this if you will but it's The catchiest number of the night, is "I Want The Good Times Back," a rowdy barrelhouse showstopper for Sherie Rene Scott as the evil octopus, Ursula, who in this version was apparently once a cabaret singer in a gay bathhouse. ("I want disgusting wealth/I want exquisite sin/I want the entire sea to worship me on bended fin.") Ursula is all camp, along with her electric hench-eels, Flotsam (Tyler Maynard) and Jetsam (Derrick Baskin), which may be a disservIce To the plot because it takes away any real danger, but it does give Scott the opportunity to give a real star turn in a boisterous, wise-cracking comic role. I'd love to see more of this kind of stuff from her.

Of the familiar songs, two of the best go to Tituss Burgess, who, as Sebastian the crab wears an appropriately crabby sarcastic scowl on his face when he's not raising the roof with his trumpeting pipes in "Under The Sea," or stylishly leading "Kiss The Girl," the best staged song of the night. Norm Lewis, whose beautifully mellow voice must be what a Swedish massage sounds like, has precious little to do as Triton, the King of the Sea, but his dignified presence and ability to play a compassionate character who must administer some tough love to daughter Ariel brings class to the proceedings.

And speaking of Ariel, Sierra Boggess is completely winning in her Broadway debut, sporting an easy going, natural charm, a good knack for comedy when needed and a singing voIce That thrills when she reaches the climactic moments of "Part Of Your World." Sean Palmer, with an attractive voice and a solid good guy presence matches her perfectly as Prince Eric.

Jonathan Freeman, as the prince's exasperated guardian and John Treacy Egan, as the bombastic chef, both make good comic contributions and a sextet of ensemble ladies (Cathryn Basile, Cicily Daniels, Michelle Lookadoo, Zakiya Young Mizen, Chelsea Morgan Stock and Kay Trinidad) are tremendous fun as both mermaids and prospective princesses. Their girl group pop number, "She's In Love" gets an extra bolt of energy from young actor Brian D'Addario, who alternates performances with Trevor Braun as little Flounder. D'Addario comes off as a regular kid who can really belt up a storm.

The design of the show is by no means elaborate but George Tsypin (set) and Natasha Katz (lights) create a gleefully aquatic underwater world that turns creepy in the villains' part of the sea. The shipboard scenes are bathed in a dazzling burnt orange glow. Tatiana Noginova's beautiful collection of colorful costumes cleverly transforms the cast into an array of sea creatures. Sure, it looks weird to have actors playing mermaids sporting both legs and tails (Time for that suspension of disbelief, I suppose.) but her idea to replicate swimming by having the fish glide about on heelys is really kinda cute. Her humans look rather dashing, and sometimes absurdly comic.

And you know something... Just a hunch, but I think little kids might like this one, too.