Mermaids on parade

The opening of the Music Circus production Disney’s The Little Mermaid was probably the first-ever theater experience in which I was above the median audience age. This is of little surprise, of course, given that I’m only 26. But on Tuesday night, a packed house of children, parents, and even 20- and 30-something couples filled the Wells Fargo Pavilion theater. It was nice to see that my fiancée and I were not the only young couple attending sans children.

The stage version of Disney’s The Little Mermaid borrows much of the plot and songs from the 1989 animated film, which was—loosely, given the singing crustaceans—based on the Hans Christian Andersen children’s story. It debuted on Broadway in 2008, closed in 2009, and subsequently toured the United States and internationally. The score features music by Oscar-winning film composer Alan Menken, with original lyrics from the film by Howard Ashman and new lyrics by Glenn Slater.

Music Circus’ theater-in-the-round is perfect for The Little Mermaid. It helps put visually stunning costumes, makeup, set design, lighting and choreography right up-front. Upon entering, the audience is generously treated to an air-conditioning system (thankfully) on full blast and a sea-foam green kelp forest. Once underway, the sea seems to engulf the entire audience, as colorful dancing fish circle and float between aisles. Though much of the action happens center stage, the cast also runs around to every corner of the theater, bringing the production all the way to the back row.

Vocally, Eric Kunze (Prince Eric)—who visited this stage last year as Chris in Miss Saigon—steals the show. Given his strong voice and broad vocal range, it’s not surprising that Kunze regularly plays lead roles in Broadway productions. Jessica Grove, as the mermaid Ariel, is also an outstanding singer, and the two seem fitting as lead Disney characters. Merwin Foard (King Triton) and Vicki Lewis (Ursula) bring their voice-acting flair to the stage. Lewis, in particular, adds comic relief while exuding the patented Disney over-the-top evilness.

My only gripe is the—spoiler alert—also patented Disney ending: white wedding, prince gets a princess, happily ever after, etc.

Of course, one exiting patron was quick to dub this her favorite part of the show.

Therein lies the problem with Disney endings. Sorry, 6-year-old girl: It was actually a story about courageously sacrificing everything—even going against your traditional father’s wishes—to find love and personal meaning in the world. Perhaps you were just looking at the pretty fishes the whole time, but the wedding part was—in reality—just a 30-second afterthought, part of the story’s denouement.

“It wasn’t when she sang ‘Part of Your World’? That was my favorite part,” said the patron’s mother.

My favorite part would’ve been the Hans Christian Andersen ending: The prince marries someone else, and the mermaid throws herself into the sea, her soul dissolving into an ethereal sea spirit. She has a chance to earn it back over the course of 300 years—if she is a good spirit.

But that probably wouldn’t have drawn a family crowd.