IVINS — Tuacahn Amphitheater has been bringing Disney magic to life in the Southern Utah desert for decades. Directed by Scott S. Anderson, the current production of The Little Mermaid is no exception. At first thought, a red-rock canyon may not seem like the best setting for a musical that largely takes place under the sea. However, Tuacahn is the perfect venue to explore the natural splendor and technical abilities required to create a magnificent underwater spectacle.
Based on the Hans Christian Andersen story, The Little Mermaid tells the classic tale of Ariel, a rebellious young mermaid princess who yearns to experience life on land. Opening on Broadway in 2008, the musical features music by Alan Menken and lyrics by Howard Ashman and Glenn Slater, with a book by Doug Wright. As with most Disney adaptations, the musical closely follows the 1989 film with minor additions and changes. While I personally feel the supplemented songs are substandard to those already used in the film, I admit that they do flesh out a more substantial storyline, as well as freshen up the story for fans of the film. In this production, excellent orchestrations are superbly executed under, the always top notch, music supervision and direction from Christopher Babbage.
The impressive scenic and lighting design by Paul Black creates an exceptionally pleasing aesthetic. Many elements tie together well to form a cohesive and captivating ocean atmosphere. Large set pieces resemble realistic and embellished rock formations. I especially appreciated how Ariel’s grotto is adorned with various shiny human trinkets. Black uses his mastery of colors and lighting to make it appear that sunlight is shining through the water. Brad Peterson’s stunning and bright projection design greatly elevates each scene by emphasizing specifics, such as coral reefs, sunrises, sunsets, and darker ocean realms. With the use of real water effects like flooding the stage and water curtains, often enhanced by Josh Liebert’s sound design, the environment is realistically enchanting. Other effects such as soap bubbles, pyrotechnics, fireworks, and live horses are the cherry on top of the spectacle already created.
Scenic and Lighting design by Paul Black. Projection design by Brad Peterson. Photo by Leavitt Wells.
Under Anderson’s direction, the choreography by Mara Newbery Greer and costume design by Robin L. McGee go hand in hand to allow the characters to glide seamlessly across the stage, mimicking realistic swimming actions. The mermaids and sea creatures often use wheeled, motorized devices to stand on or wheeled-shoes to roll along the stage which work extraordinarily well. The mermaid costumes utilize the tails and fins to cover and hide the motorized devices, while also disguising the actor’s legs and feet very well. This is also true of Ursula, the sea witch, who seemingly is able to move her body and tentacles without any effort. Another technical moment that stands out is when Ariel and Flounder appear to be partially in water. The team smartly uses sightlines and lifts in the stage to craft this powerful illusion.
Greer’s tight and fun choreography, paired with McGee’s vibrant and intricate costumes bring the production to a whole new level. By creating stronger character development with realistic and functional styles and movements, both technical elements create eye-catching moments. Additionally, multiple flying sequences choreographed by Paul Rubin allow for exciting movement, levels, and important transitions, particularly when Ariel trades her fins for human legs. A certain scene when Ursula’s tentacles grow and stretch across the entire stage and rise up is also spectacular.
The cast of Disney’s The Little Mermaid led by Eric B. Anthony as Sebastian. Photo by Leavitt Wells.
The cast displays effortless acting and singing abilities, on par with the professionalism of the design elements. Particularly impressive is the ability of the entire cast to maintain energy and advanced technique while at the same time maintaining heavy costumes, quick changes, rigorous movement, and skillful rigging in the heat.
[A note regarding the heat: While it is expected to be quite warm when attending the show, the sun sets shortly after the musical begins and the theatre employs fans and misters to help manage a more comfortable temperature.]
Kelsey Lee Smith is adeptly cast as Ariel, the lead of the show. Smith displays a youthful, feminine charm with an innocent, yet powerful voice that lends itself nicely to a traditional Disney princess. Her Ariel is somewhat naive, but also demonstrates a strong-willed and independent personality, communicating her desires strongly and clearly. Smith shines in the standout musical number, “Part of Your World.” James Everts plays Smith’s counterpart as Prince Eric, conveying a classic prince persona with similar notes of innocence and charm. Everts also has an excellent singing voice and matches Smith’s chemistry well, creating a cute and endearing dynamic between the two.
Kelsey Lee Smith as Ariel. Photo by Leavitt Wells.
Julie Cardia portrays Ursula as a strong villain figure, playing the role in a quirky but powerful manner. Cardia displays great talent in the number, “Poor Unfortunate Souls.” The song is lively but develops dramatically onstage, and Cardia expertly matches the energy and impact of the great scene. Eric B Anthony is wonderful as Sebastian, the Jamaican crab and court composer. Anthony brings a delightful zest to the role, particularly in the entertaining musical number, “Under the Sea.” Hudson Sullivan, a young teenager playing the role of Flounder, is also a strong cast member and I enjoyed the somewhat awkward and youthful nature of his character.
Another fin-tastic performance is Nick Berninger as Chef Louis in his song, “Les Poissons.” The song communicates Chef Louis’ love for cooking fish, a sinister task considering the subject matter of the musical. Berninger leans into this quality while adding enough playfulness to keep it light and amusing. This scene is uniquely staged, taking place almost entirely in the dark. With actors wearing neon reflecting clothing, props seeming to appear and disappear on their own, and distinctive puppeteering, Berninger leads this scene into being a highlight of the show.
Nick Berninger as Chef Louis. Photo by Leavitt Wells.
Whether or not you are a fan of The Little Mermaid or Disney musicals, this production has magic appealing to everyone. The musical is executed without flaw, hitting all the marks one might expect. Perfect for the whole family, date night, or simply an entertaining evening, Tuacahn’s The Little Mermaid is a spectacular treat. If you’re a Disney fan, this one is not to be missed.
