Review: "Little Mermaid", Westerville Civic Theatr

  Editor’s Note: Most performances of this production were sold out.  This review is being written almost a week after the show closed. I decided I should publish this anyway, because I wanted to recognize the outstanding efforts of all who were involved in this fabulous production. 

  

 Westerville Civic Theatre’s production of “Little Mermaid” is a delightful cornucopia of joyful color, movement and song. This Disney animated film, turned live-theatre spectacle, has something for everybody. 

  Co-Directors Luke Bovenizer and Matt Wolfe have amassed an excellent cast, creative team and crew to bring this beautiful story to life on the wide Westerville Central High School stage.

   There are so many noteworthy performances among this outstanding cast.

   My friend Julie Russell's performance as Scuttle Sea Gull overflows with joy and zest that floats up to the rafters. She sings, tap dances, and shows great leadership in shepherding others, especially the young gulls and other tap dancers.

   Alex Armesto has clear vocals and is handsome, humble, sincere and lovable as the prince.

   Young Cherish Myers sings so beautifully and is beautiful as the title character, Mermaid Ariel, who follows her dream to live on land, bond with the prince and join the human race. I knew Ms. Myers as a child actress when she performed in Curtain Players production of “Little House Christmas” several years ago.  She has grown into a lovely, confident, accomplished, graceful and charming young woman -- beloved by all -- both on and off stage.

    Bill Hafner is strong with a gorgeous base baritone voice as the undersea God, Triton, father to Ariel. 

   I have seen Dan Griscom in several shows, but this was my first experience seeing him in a musical.  The role as Prince Eric’s protector, Grimsby, suits Griscom.  He seems confident and comfortable singing and dancing across the stage.

  Ursula, foil to King Triton’s command of the undersea world, is one of those characters audiences love to hate. Julia McCafferty masters meanness with grace and style, singing in full, rich, dulcet tones as she works her dark magic control over Ariel and her father.

  Desmond Fernandez out-energizes everybody. He sings well and fills the stage with his larger-than-life characterization of Sebastian, Ariel’s mentor and protector.

  I enjoyed David Hammond’s singing and characterization as Chef Leeward.

   Honorable mention goes to Bennett Keyser as Flounder, first fan and would-be boyfriend to Ariel.  As is typical for young boys on stage, Keyser’s line delivery is a bit hurried and difficult to understand, but his cuteness and energy are compelling. 

  Music production is led by Music director Kelsey Burkett, Conductor John Vermeulen. The rich tones of the orchestra enhance the production and keep a good beat and pace for the singing and dancing.

     Choreographer Cindy Straub, Assistant Choreographer Heather Williams and Dance Assistant Aubry Williams arranged, taught and coordinated, polished-looking movements for every skill level and age group. 

   There are many great moments and wonderful songs.  Among my favorites are  “Kiss The Girl” with Sebastian, Scuttle and chorus; “Positoovity with Scuttle and gulls – including a tap dance number led by Scuttle; Ursula’s “Poor Unfortunate Souls” and “Kiss The Girl” with Sebastian and the ensemble. 

  A lavish Disney production such as this often forces troupes to incur considerable expense renting costumes and props.  Costume designer Jude Berger, Assistant Sharon Kegg, Props Artist Stephanie Matushoneck and their teams put together bright, colorful gowns for the mermaids, Ursula and song competition contenders, chef aprons and accents,  bird regalia for gulls, formal wear for Prince Eric and Grimsby, fins for Flounder, other fish and undersea creatures. I was especially impressed with the decorated umbrella decked out to replicate a swimming angel fish as it opened and closed during dance scenes.

    Scenic Designer Derrick McPeak, Charge Artist Jeanne Guerin and their crews have cobbled together richly-colored backdrops and set pieces to aid in telling the story.  The excellent lighting design by Derryck Menard provides the proper focus and emphasis for all the action.  Some of the younger players on stage don’t always find their light, but good light is there.

      The sound mix is the weakest link.  Some of the amplification is too loud. I never detected any feedback, but the volume was often on the edge for some of the bigger voices and larger numbers and too soft to be heard for some of the younger, smaller voices.  Part of the problem may have been that some players were not given proper training in how to position and project into their microphones.

   Overall I consider “Little Mermaid” to be a fully realized, polished and satisfying piece of musical theater.  It is one of the few large-scale-musical, community theater shows I have seen that does not clutter the stage with a bunch of people who wander aimlessly or just stand/sit around in ugly clumps and static lines, singing like a church choir.  The production values, designs and stage craft of Westerville Civic’s “Little Mermaid” are worthy of any Broadway-level professional show.  What a treat!