Produced for
Free Rain Theatre Company by Anne Somes.
Directed by
David Atfield.
Choreographed
by Michelle Heine.
Musical
Direction by Nicholas Griffin.
Set and
Costume design by Cate Clelland.
Lighting
Design by Phil Goodwin.
Sound design
by Chris Neal.
Canberra
Theatre until 17th April 2016
Reviewed by
Bill Stephens.
Undaunted by
the considerable challenges involved in mounting a show conceived as a stage
spectacular, Free Rain Theatre have come up with an imaginative production,
which while lacking the professional gloss of some of their earlier efforts,
still provides a diverting evening of music theatre. Director, David Atfield,
has devised a handsome production enhanced by outstanding choreography, engaging
performances from both principals and ensemble, excellent singing throughout,
lots of colourful costumes and a first rate orchestra.
 |
| Mikayla Williams as Ariel, The Little Mermaid |
In the
central role, Ariel, the little mermaid who trades her voice for a pair of legs
to win the love of the handsome Prince Eric, Mikayla Williams carries the show with
a captivating performance in which she displays her considerable skills as an accomplished
singer, dancer and actor.
Even when
stripped of her voice by her evil Aunt Ursula, Williams, continues to delight with
her mimed efforts to persuade her prince to kiss her and break the spell.
As the
object of Ariel’s affection, the Disney Prince Eric, Tim Dal Cortivo is
required to do little other than look handsome and sing superbly, both of which
he manages with panache. His singing of “Her Voice” provided one of the vocal
highlights of the evening.
 |
| Louiza Blomfield (Ursula) David Santolin (Flotsam) |
Louiza
Blomfield goes close to stealing the show with her dazzling turn as the wicked
octopus, Aunt Ursula. Working her fantastic costume for all its worth, and with
terrific back-up from David Santolin and Jamie Winbank as her slimy eel
offsiders, Flotsam and Jetsam, Blomfield provides a genuine show-stopping
performance with her song “Daddy’s Little Angel”.
 |
| Tony Falla (Scuttle) |
She receives
stiff competition from Tony Falla, also wonderfully costumed, as the language mangling,
tap-dancing seagull, Scuttle, whose cleverly performed number, “Positoovity”
provides another of the show’s highlights, as does David Cannell with his turn
as the manic French chef, Louis, in “Les
Poissons”.
Phillipa
Murphy (Aquata), Lisa Tredinnick (Andrina), Silvana Moro (Arista), Rebecca
Mitchell (Attina), Cara Bessey (Adella) and Kaitlin Nihill (Allana), add to the
fun by creating quirky individual characterisations as Ariel’s six sisters, and Jake Willis is
quite endearing as Ariel’s most ardent admirer, Flounder.
 |
| Steve Galinec (King Triton) - Makayla Williams (Ariel) |
Colin Milner
and Steve Galinec add gravitas portraying the senior characters, Grimsby and
King Triton, but Fraser Findlay seems undecided on the right characterisation
for Sebastian, the lobster, adopting several different accents in the course of
the performance and scuttling sideways,
as a lobster would, in some scenes, then
disconcertingly , walking around normally, in others. However he was in fine
voice for his solos, “Under the Sea” and “Kiss The Girl”, and in the glorious
quartet “If Only” in which he was joined by Mikayla Williams, Tim Dal Cortivo
and Steve Galinec.
The clever dance
sequences created by Michelle Heine are enthusiastically performed by the
well-drilled cast, and provide plenty of spectacle, and Chris Neal achieves an
excellent sound balance between the singers and Ian McLean’s superb orchestra.
Cate
Clelland has come up with some imaginative responses in her set and costume
designs, to the challenge of creating a world, above and below the sea for “A
Little Mermaid”. However obvious limitations in the resources available for
their realisation, particular for the costumes, has resulted in an over-all
lack of cohesion in the look of the show, with supporting characters, notably
Ursula and Scuttle, dressed spectacularly, while costumes for others, including
surprisingly, Ariel and Prince Eric, were less flatteringly realised.
Some
stage-management problems, evidenced in the clumsy use of the scenery flies,
and awkward placement of props during scene transitions, also detracted from
the first night performance. Despite these small blemishes however there is
much to admire and enjoy in this entertaining retelling of Hans Christian
Andersen’s timeless fairy-tale.
 |
| Ariel's sisters with King Triton |
This review first published in the digital edition of CITY NEWS on 10.04.16
