The Little Mermaid Jr - Cast 1 - 4 out of 5 stars
Pelican Productions
TICKETS (to Cast 2): https://www.trybooking.com/au/event/1596031
The Little Mermaid Jr is a 60-minute, one-act adaptation of the full-length stage musical (which itself expands on the 1989 animated film), specially edited and simplified for performance by schools and youth theatre casts. While core songs from the animated movie remain, several original Broadway numbers are cut or trimmed for time. Nonetheless, Pelican Productions’ staging delivers a high-impact hour full of colour, talent… and wheels.
Jen Frith’s costume design is remarkably bright and
colourful across the range of land and sea creatures. Notably, the characters
living under the sea glide around the stage in Heelys—shoes with wheels in the
heel—and it works quite well, allowing the cast to glide in and around the
space, then stop in place simply by putting their foot down.
Using the same scaffolding structure from their production
of Grease, the set is now stripped bare but remains integral to not only
the various scenes but also helps create a horizon line within the scenic art
projections. (Shout-out to Kate Nairn for the scenic art design—a lot of work
has gone into the animations.)
The creative team is headed up by Bec Schembri as Director
and Choreographer, Lucy Stirling as Assistant Choreographer, and Casey Misfud
as Music Director. Together, they have nurtured the talent of the young cast
members and brought the heart of Disney to the Arts Theatre. Schembri’s
direction balances the show’s youthful exuberance with clear storytelling,
while the choreography makes smart use of the wheeled footwear to create fluid,
oceanic movement. Misfud’s musical direction keeps the young voices supported,
ensuring that even the most demanding ensemble numbers land with clarity and
energy. The result is a production that feels cohesive, confident, and
carefully crafted to showcase its performers at their best.
Maree Fong’s Ariel feels less like a performance and more
like a homecoming. From her first entrance, it was clear this role was designed
for her: every song sat perfectly in her voice, every character choice felt
instinctive, and every mannerism landed with absolute conviction. Her
interactions with her friends and family were strong—Fong made each
relationship feel specific and lived-in.
Joel Howis brings a natural bearing to Eric that suits the
world of the show. He moves with an easy confidence, speaks with clear
intention, and carries himself with the kind of charm that makes Ariel’s
infatuation entirely believable. In the Jr version, Eric’s opportunities
to sing are limited, but he compensates with a warm, engaging presence that
keeps Eric from fading into the background.
Thomas Mendes brings a vibrant, commanding energy to King
Triton, approaching the role with the ambition of a true ruler of the seas. In
his youthful interpretation, Mendes’ Triton emerges as a passionate, protective
father whose authority is unmistakable, leaning into the character’s intensity
and creating a monarch who is loud when he needs to be, gruff in his concern,
and unafraid to raise his voice when his daughter’s safety is at stake.
Alejandro Jimenez is a comical legend in the making. As
Sebastian, he knew exactly where to milk a moment for laughs, where to stretch
a line for comic effect, and—practically speaking—where to hold the stage just
long enough to allow for quick costume changes offstage. His leadership in
“Under the Sea” and “Kiss the Girl” is a highlight of the production,
commanding the ensemble with energy and precision, while never losing the
character’s fussy, fretful charm.
At such a young age, Emma Fisher already has a compelling
stage presence. Her Flounder was endearing without being cloying, nervous
without being lost, and always clearly heard. Fisher’s diction and projection
are excellent, ensuring every line lands, even in ensemble-heavy scenes, and
her singing carries beautifully through the theatre. Her moment in “She’s in
Love” was a standout, offering a perfect showcase for her vocal talent. She is
one to watch in the coming years.
As Scuttle, Evie Dew delivers the loud, lovable, and wildly
misinformed seabird with total conviction. She embraces the character’s
self-proclaimed expertise on “human stuff” with comedic bravado, selling every
ridiculous explanation of a fork or pipe as though it were gospel. Dew’s
physicality is sharp and bird-like, her timing crisp, and her energy
infectious. Crucially, she also got the chance to showcase her vocal chops in
“Human Stuff”.
Keira Wubbolts relishes every inch of Ursula’s villainy.
Vocally, she is exquisite: her “Poor Unfortunate Souls” is explosive and rich,
while her lower register gives the character a dangerous weight. Wubbolts
understands Ursula’s theatricality, playing up the camp and grandeur without
losing the character’s cunning edge. She creates a palpable threat that raises
the stakes of the entire production. She is an Ursula who commands attention
the moment she enters, and a masterclass in how to play a villain with power
and pleasure.
Emily Gibbons and Mila Shin worked seamlessly together as
Ursula’s sinister sidekicks: Flotsam and Jetsam. Both performers embrace the
highly physical nature of the roles, emulating the slithering, sharp movements
of eels with controlled gestures. They create a genuinely unsettling aura
around any scene without ever overshadowing. Gibbons and Shin’s work in these
roles is a strong reminder of how much impact supporting characters can have
when played with focus and flair.
In a world where youth theatre can appear as a dress rehearsal for real theatre to certain members of the community, Pelican Productions’ The Little Mermaid Jr stands as a reminder that the real thing is happening right now. This is a cast that sings with heart, moves with purpose, and believes in the world they’ve created. There are two performances remaining with the alternate cast tomorrow at 1pm and 5pm – don’t miss out!
- Andrew Broadbent
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