Theatre review: The Little Mermaid dives into glittering storybook setting at Theatre Under the Stars
Standout performances and design bring infectious energy to Disney’s tale of love and self-discovery
(Left to right) Dalton Nelson, Madison Simms, Twyla Raffé-Devine, and Cecilly Day in The Little Mermaid. Photo by Emily Cooper
Theatre Under the Stars presents Disney’s The Little Mermaid at Malkin Bowl to August 22
THERE’S MAGIC IN the air at Malkin Bowl in Stanley Park, thanks to Theatre Under the Stars’ The Little Mermaid. Directed and choreographed by Nicol Spinola and starring a captivating Madison Simms as Ariel, this vibrant production dazzles with imagination and meticulous attention to detail. From stunning visuals and splashy musical numbers to heartfelt moments, The Little Mermaid is a charming, thoroughly engaging experience that audiences of all ages will adore.
Based on the Broadway musical adapted from Disney’s beloved animated film, the show retains Alan Menken and Howard Ashman’s iconic songs, including “Part of Your World” and “Under the Sea”, while incorporating additional music by Menken and lyrics by Glenn Slater.
The story follows young mermaid Ariel, who falls in love with Prince Eric (a sincere and charming Pier Francesco Marchi) against the wishes of her father, King Triton (a formidable yet compassionate Tanner Zerr). Determined to join the human world, Ariel accepts a dangerous bargain from her sinister aunt, the sea witch Ursula (a deliciously wicked Cecilly Day).
Simms beautifully captures Ariel’s youthful curiosity, impulsiveness, and vulnerability, pairing a graceful stage presence with a lovely soprano voice. Her rendition of “Part of Your World” is heartfelt and poignant. Marchi brings warmth, sensitivity, and strong musicality to Prince Eric, particularly in “Her Voice”. Together, the pair share a chemistry that makes their romance easy to believe.
As Ursula, Day delivers a commanding performance. Dressed in Donnie Tejani’s spectacular, octopus-inspired costume, complete with glittering tentacles and seaweed-draped accents, she cuts an imposing figure while relishing every villainous moment. Her powerhouse vocals and charisma make “Poor Unfortunate Souls” a showstopper.
A standout surprise is Sophie McKenzie as Scuttle, the enthusiastic but dim-witted seagull who usually doesn’t evoke much fanfare. Sporting a costume overflowing with white feathers, she delights with her hilarious physical comedy and spirited performance of the rousing song-and-tap-dance number “Positoovity”, leading the talented ensemble with infectious energy and impressive dance skills.
Another unexpected highlight is Dalton Nelson and Twyla Raffé-Devine as Ursula’s eel accomplices, Flotsam and Jetsam—again, roles that usually don’t draw much attention. Through fluid, serpentine movement and striking dance lines, they perfectly complement Day’s menace while bringing an eerie elegance to the roles.
Acclaimed for her choreography at TUTS, Spinola makes an impressive directorial TUTS debut. Her vision transforms the stage into a storybook world brought vividly to life. Ryan Cormack’s scenic design—featuring draped curtains, colourful backdrops, and mobile sea-rock structures—works seamlessly with Jonathan Kim’s atmospheric lighting, including effects that mimic sunlight filtered through ocean depths, to give this production an almost operatic sense of theatricality.
One of the production’s greatest strengths is Tejani’s inventive costuming. Rather than relying on cumbersome tails, the merfolk are outfitted in long dresses featuring tail-inspired patterns, creating the illusion of underwater creatures while allowing freedom of movement. During the exuberant “Under the Sea”, Sebastian the crab (a lovable Janelle Reid) leads a colourful parade of aquatic life, including mermaids, jellyfish, sturgeons, and glowfish. Particularly memorable are the jellyfish costumes, whose flowing, tentacle-like streamers cascade from headpieces.
The costumes also allow standout dancers such as Camille Griffiths, Chiara Go, Fumi Okochi, and Elijah Sam to show impressive leg extensions, leaps, and turns. Another crowd-pleaser is the doo-wop-inspired “She’s in Love”, featuring Flounder (an endearing Angus Silva) and Ariel’s six sisters, led by the sassy Madison Raybould.
Spinola’s dual role as director and choreographer results in a remarkably cohesive production. Movement is woven organically throughout the storytelling, whether in the fluid elegance of the merfolk, the regality of Prince Eric’s court, or Ursula’s theatrical villainy. Transitions between scenes and songs flow seamlessly, creating a mesmerizing theatrical experience. Under Brent Hughes’s musical direction, the polished orchestra enhances the enchantment from the exciting opening overture onward.
As a local, non-profit theatre company, TUTS obviously doesn’t have a multimillion-dollar Disney budget, a fact that could make an ambitious show such as The Little Mermaid challenging to stage. While there are some flashy special effects in the show, Spinola and her team have also found creative staging for the story’s other big moments in ways that are effective and polished, ultimately faithfully serving the story.
From its beloved songs and fantastic performances to its grand theatricality, TUTS’s The Little Mermaid is a magical celebration of love, self-discovery, and the courage to follow one’s heart—whether under the sea or on land. 
Madison Simms in The Little Mermaid. Photo by Emily Cooper
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