A Vocally Triumphant Little Mermaid from Allegro

The theatrical iteration of Disney’s The Little Mermaid expands the beloved, happily-ending animated take on Hans Christian Andersen’s tragic tale into a bitter aquatic turf war.

Ariel’s desperate bargain—trading her voice for human legs to pursue Prince Eric—is framed not just as teenage rebellion, but as a crucial pawn in the banished sea witch Ursula’s plot to usurp her brother, King Triton.

Lacking the millions or the inclination to take the show airborne by suspending the cast on wires, director Neil Lavin and Allegro revive the ‘merblade’ approach pioneered by the 2008 Broadway original—simulating the fluid motion of swimming by having the ensemble glide across the stage on wheeled Heelys.

Without special effects to hide behind, the company is entirely reliant on stagecraft and vocal firepower, and they succeed overwhelmingly. Allegro consistently assembles casts that rival major touring companies, and the sheer musical talent on display at the Church Hill Theatre is formidable.

Following a superb turn in the company’s recent The Cher Show, Emma Clarkson delivers another professional-quality vocal performance as Ariel that cuts beautifully through the orchestration even with a foam dolphin tail strapped to her lower half. Matching her stride for stride is Paul Kelly-Copland as Sebastian, the beleaguered crustacean tasked with keeping her safely submerged. Wearing multiple heavy red layers and pincer gloves, he manages to avoid melting into a puddle while delivering a gorgeous vocal tone and steering a vibrant, high-energy take on ‘Under the Sea’.

“Following a superb turn in the company’s recent The Cher Show, Emma Clarkson delivers another professional-quality vocal performance as Ariel that cuts beautifully through the orchestration even with a foam dolphin tail strapped to her lower half.“

Expanding Disney’s The Little Mermaid

Where playwright Doug Wright’s revised book holds water is in its treatment of the villain. By expanding Ursula from a standard-issue antagonist into a disenfranchised royal with a genuine, character-driven vendetta, the script offers a much richer dramatic current. Lyndsey McGhee seizes this material, injecting the sea witch with a classic, venomous allure and making light work of ‘Poor Unfortunate Souls’. She is brilliantly aided by Emma Dawson and Zoe Murray as Flotsam and Jetsam, whose shoulder-borne eel puppets offer two of the production’s most striking and effective presences.

Above the waves, Immie Wright channels the anarchic energy of a Sarah Squirm Saturday Night Live sketch as Scuttle the seagull, leading an outstanding ensemble as they tap furiously through ‘Positoovity’. Choreographer Laura Green deserves considerable praise here and elsewhere; she tackles the show’s ambitious big numbers head-on, marshalling a sprawling cast into cohesive, high-energy routines that fill the floor. Matthew Colquhoun also looks the part as Prince Eric with the requisite raven locks and a fine voice, though he would benefit from a slightly firmer, more confident footing on stage.

**Emma Clarkson as Ariel and Matthew Colquhoun as Prince Eric in Allegro’s The Little Mermaid – photo provided by Allegro**

Staging the musical at Church Hill Theatre

Forced to establish the ocean entirely through literal design, Dixon and Lavin strap foam tails to the cast. The ensemble navigates the wheels with commendable skill—Russell Coid’s Triton clearly relishing his mobility—yet the tails verge on playschool television. A simpler, shimmery finish might have bypassed this visual clunkiness, but then again, even Broadway struggled to solve this one.

The technical execution elsewhere requires a little baling out. While the microphone cues are prompt, one or two cast members’ feeds are beset by crackling audio that most impacts Joe Purcell (so strong in Allegro’s The SpongeBob Musical) in his otherwise highly enjoyable turn as the eccentric, crab-hunting Chef Louis. Down in the pit, musical director Louisa Everett—responsible for many an Allegro triumph—oversees a compact yet robust orchestra. Fuelled by the adrenaline of playing Alan Menken’s iconic score, however, the band occasionally pushes too far forward, threatening the ears of those in the front rows. None of these issues is more than a tweak away from Allegro’s usual perfection.

“Lyndsey McGhee seizes this material, injecting the sea witch with a classic, venomous allure and making light work of ‘Poor Unfortunate Souls’.“

On the other hand, this expanded stage adaptation—penned by Wright, with Menken and lyricist Glenn Slater adding to the late Howard Ashman’s original songbook—isn’t without fundamental flaws (performed perfectly it would still top out at 4 stars).

It is overstuffed with nice but forgettable additions and would benefit from banishing its baddie with less of a panto-flourish. Yet, to dwell too heavily on the script’s shortcomings feels churlish when confronted with the sheer enthusiasm and undeniable vocal pedigree Allegro brings to the stage.

For a ticket price maxing out at £18, the company—once again—delivers a standard of musicality that defies their unpaid professional status. They have navigated the choppy waters of a difficult adaptation with charm, resilience, and an infectious spirit that leaves the stalls thoroughly entertained. It is one more testament to Edinburgh’s thriving amateur scene that a production this ambitious can so confidently find its sea legs.

Featured Image: Emma Clarkson as Ariel in Allegro’s The Little Mermaid – photo provided by Allegro