Pan Academies of Creative Arts' production of "The Little Mermaid" has brought the beloved Disney classic to life with enthusiasm and charm. From the moment the curtain rose it was clear that the cast and crew had poured their hearts into this ambitious undertaking and the results of their efforts were appreciated by the audience.
The set design was particularly impressive for a community theatre production. Director, Rodrigo Medina Noel, and Set Designer Tony Odling, made good use of the facilities of The Concourse Theatre, crafting a stage design which transported the audience from ship to palace to the sea. Employing technologies old and new, the PACA team made effective use of well-appointed backdrop projections, fly line directed set pieces, shimmering fabrics, and nautical elements to echo the well-known worlds of the Disney classic.
While there was, indeed, a distinct nod to the design elements of the Disney film throughout the production, this was, by no means, a simple re-creation. The design team made effective choices to ensure the production was unique to the cast and directorial vision. Costuming played a crucial role in this. Abigail Catherine (Costume Design) Erica Williams (Head of Wardrobe and Costume Design) and Janina Hammalock (costuming) ensured that the cast were adorned with colourful, imaginative outfits that captured the essence of their animated counterparts without being overly literal, thereby allowing a freedom of movement and character interpretation for the actors as they invested in their roles. Musically, the production was strong. Under the guidance of Musical Director William Pulley, a small live orchestra provided accompaniment to the powerful vocal performances of the talented cast. With a narrative so focused on the beauty of singing and harmony, it was apt that the balance of voices and orchestra was so on point.
Faith Sherwood delivered a captivating performance as Ariel. She conveyed the titular mermaid’s curiosity and determination with genuine emotion. Sherwood managed the vocal demands of the role well, engaging the audience with her sincere renditions of the well-loved classics. Similarly, Cameron Mayhew, offered a faithful portrayal of Prince Eric. Mayhew brought an endearing intensity of character to the role and his powerful vocals commanded attention in every solo and duet.
The character of Sebastian brings much humour to the tale and Andrew Read’s portrayal did not disappoint. In particular, the running gag of his feud with Chef Louis (Mercurius Yousif) brought a particular sense of fun through their moments of physical comedy in Act 2. Flounder (Jemima Dredge) and Scuttle (Alexander Billett), Ariel's faithful companions, were brought to life brilliantly. Dredge brought an infectious energy to the role, portraying the lovable innocence of the character beautifully and delivering strong vocals especially in “She’s in Love.” Billett’s Scuttle captured the character and garnered well deserved laughs from the audience for his clear and clever delivery of Scuttle’s misguided statements of so-called wisdom. Billett’s “triple threat” skills were most evident in Act 2 as he led the talented team of dancers as they sang and tapped their way through “Positoovity”.
Every story needs a villain and Jordan Berry, as Ursula, was a delightfully wicked dominating presence. Every spoken line was deep and menacing and, when she sang, her powerful vocals filled the theatre and showed her incredible vocal range. Berry was supported impeccably by Laura Cox and Jay Mancuso in their roles as Flotsam and Jetsam. Cox and Mancuso matched the power of Berry’s vocals, and their every move was perfectly timed and coordinated, exuding evil in just the right measure. Kudos also goes to the creative team for the design of the costumes, set and lighting for Ursula’s scenes; the shift to Ursula’s underworld was visually stunning. Simon Buchner provided a strong King Triton, clearly portraying a character torn between paternal concern and the responsibilities of his kingdom, and Daniel Stevenson aptly portrayed Grimsby with just the right degree of pomp and nervousness.
A highlight for me, though, were Ariel’s sisters. Portrayed by Maggie Clifton, Hannah Aouchan, Lucy North, Amelie Walters, Shelby Brodie and Laren Bigg, Triton’s daughters were not only a harmonic vocal team, but they also brought a sass and humour that delighted the audience.
Key to the success of a production such as this is well crafted and well executed choreography, and the PACA team did not disappoint. Kaitlin Hillier (choreographer) showed great creativity as she designed and directed movement that honoured that which has come before while also crafting choreography that capitalised on the skills of the cast. From ballroom to tap, this show crossed a broad range of dance styles, and each was presented with precision and energy. The talented featured dancers were a true asset to the production; from the small background movements that supported the lead characters in their key moments to the bigger production numbers, these dancers were very impressive. However, for me, the true joy of a show’s choreography comes through those moments where the cast is working together in the big production numbers and “Under the Sea,” “She’s in Love” and “Positoovity” did not disappoint, bringing thunderous applause from the entire audience.
While the production values of this show were high for community theatre, there were some technical hiccups. A few microphone issues interrupted the flow of dialogue, and there were moments when set pieces didn't quite cooperate during scene changes. However, the cast handled these minor setbacks with professionalism, never breaking character and maintaining the momentum of show and I am certain that these were just opening night glitches.
Overall, this production of "The Little Mermaid" was a testament to PACA as an emerging force in the Sydney Community Theatre scene. For families and Disney fans alike, "The Little Mermaid" offers a charming and memorable theatre experience, and I would highly recommend finding yourself a ticket for one of the remaining shows.
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