REVIEW | The Little Mermaid: Song of the Sea, Greenwich Theatre - London

Harry Brogan
Aug 10
4 min read

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I went into The Little Mermaid: Song of the Sea expecting some similarities to the Disney classic, perhaps even the use or reinterpretation of some of its familiar songs. While the production follows the basic story of The Little Mermaid, it takes a very different approach. Unfortunately, it felt more like an off-brand interpretation of the Disney classic than a production with a strong theatrical identity of its own.

Of course, a new production doesn't need to reproduce Disney's version to be successful. There is plenty of scope to reinterpret such a familiar story. However, when the source material is so well loved, a different approach needs to offer enough imagination and theatricality to create its own sense of magic. For me, this production didn't quite achieve that.

Although clearly intended as a family-friendly show, the audience was filled with little girls in princess dresses who had arrived with all the anticipation associated with The Little Mermaid. Sadly, the production struggled to capture that sense of wonder, and there were moments when the children's engagement appeared noticeably limited.

The Writer, Anthony Spargo, and Director James Haddrell created a pantomime feel to parts of the production, particularly in the humour and characterisation. However, many of the jokes appeared to miss their mark, with limited laughter from the audience. This was particularly noticeable during moments that seemed designed to generate a bigger response. The Bosun's sea-themed dad jokes did provide some entertaining moments, but overall the comedy didn't consistently connect with the audience.

One of the main weaknesses was the structure. The very short scenes, combined with abrupt musical interjections, made the storytelling feel fragmented and the pacing uneven. Just as a scene began to establish itself, it seemed to move on. The music could also feel disconnected from the narrative, rather than naturally supporting the story or building its emotional moments.

There were, however, some genuinely strong performances. Blossom Timothy as the Sea Witch was a clear standout. Timothy's acting gave the character real personality and presence, while the manipulation of Timothy's voice helped bring the character to life. Timothy had a theatrical quality that immediately drew attention whenever appeared on stage, and I found myself wishing Timothy had been given considerably more stage time. Timothy's song could also have been one of the production's standout moments. Unfortunately, the choice of octave did not seem particularly well suited to Timothy's voice. This felt more like a musical or production decision than a reflection of Timothy's ability, and it prevented the song from having the impact it could have had.

James Aldred as Barnabus Binns, who also played King Poseidon, was another highlight. Aldred embodied each character convincingly and demonstrated good versatility. Aldred's comic timing brought some welcome energy to the production, particularly through the sea-themed dad jokes, even if the humour didn't always receive the audience response it appeared to be aiming for.

By contrast, Nikita Johal as Pearl (The Little Mermaid) was less convincing. This was particularly noticeable during the scenes in which Pearl could not speak. These moments relied heavily on physicality and facial expression to communicate thoughts and emotions, but there was limited variation in facial expressions. As a result, it was sometimes difficult to connect with the character or understand the emotions Johal was trying to convey.

Visually, there were some imaginative ideas. The costumes, by Jana Lakatos, were simple but effective, clearly distinguishing the different characters without being overly elaborate. The puppetry used for Pippin the dog, voiced by Ava Honey, was another enjoyable touch, adding a different theatrical dynamic and some welcome visual variety. The combination of puppetry and Honey's voice work gave Pippin a distinct personality and provided one of the production's more engaging creative elements. The set itself, also by Lakatos, created a nautical and rustic atmosphere, making particularly effective use of ropes and different levels. Given the scale of the production, these elements helped establish the world of the story and gave the stage some texture and movement.

Unfortunately, the use of shadow puppetry and projections was less successful. Rather than enhancing the atmosphere, these elements often felt underdeveloped and lacked the polish and precision expected from a professional production. Alongside the short scenes and frequent changes, they sometimes contributed to a stagnant feeling rather than helping the story move forward.

The most surprising highlight came at the very end of The Little Mermaid. The final ensemble number, when the whole cast came together to play different instruments and sing, was easily the strongest part of the evening. The harmonies were lovely, and for the first time the production felt genuinely cohesive. There was a warmth and musicality in those final moments that had been missing earlier in the show. It was also a glimpse of what the cast could achieve when everything came together naturally. Rather than relying on projections or frequent changes of scene, the simple combination of performers, instruments and harmonies created a much more engaging theatrical experience.

Ultimately, there are flashes of genuine talent, imaginative ideas and some strong individual performances in The Little Mermaid: Song of the Sea. Blossom Timothy's Sea Witch and James Aldred's Bosun/King Poseidon provide particular highlights, while Ava Honey's vocal contribution to Pippin, the costumes and the nautical set demonstrate some thoughtful creative choices.

However, the production as a whole felt uneven. The short scenes, disconnected musical interjections, humour that frequently failed to land, underdeveloped projections and shadow puppetry, and inconsistent performances prevented the story from building the momentum and emotional connection needed to fully engage its young audience.

Most importantly, although this production doesn't need to imitate Disney, I found myself missing the sense of magic, wonder and excitement associated with the story. With so many young children arriving dressed as princesses and clearly ready to be transported into the world of The Little Mermaid, I had hoped the production would capture more of that feeling.

The final song demonstrated that there is real musical talent within the company, and several performers brought genuine energy and character to the stage. Unfortunately, those strengths were not enough to make the production feel consistently engaging or polished.

A production with stronger musical direction, more developed performances, tighter comedy and greater cohesion between its visual and theatrical elements could have brought considerably more life to this familiar story.

★

The Little Mermaid: Song of the Sea is currently playing at Greenwich Theatre, London until 23rd August: https://greenwichtheatre.org.uk/events/the-little-mermaid-gt/