You can't win 'em all. Not even Disney. I'd blame much of the failure of The Little Mermaid (music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, book by Dour Wright), which seems geared to eight year olds, on the director, Francesca Zambello and choreographer Stephen Mear.
We know the story, so theatrical success would be based on how it is told. In places where movement could be thrilling, it is ordinary. There is a bird without birdlike movement - no flight of creativity. The innovative use of Wheelies to give an underwater feel is great when introduced but becomes so redundant it loses impact.
The music is a strange mixture -- from Lloyd Webberesque to Calypso, to some very Russian-sounding tunes (but no Tevye). The lead is played by a delightful, adorable, charming elf, Sierra Boggess, who brings charm, flexibility and believability while skating, dancing, singing -- everything. The rest of the cast is just fine, except for those busy trying to be funny -- like clowns at a children's birthday party. I found that annoying.
Act Two is more engaging as the familiar story reaches its climax. George Tsypin's set is odd, with a terrific counterpoint between ship and ocean and pieces that look like a Jules Verne chemist's lab in 1890. Natasha Katz's lighting is, as always, just fine, and costumes, especially those of the mermaids, by Tatiana Noginova inventively solve the movement problems while suggesting fish tails on pretty girls. Norm Lewis is a strong Titan, beautiful Sherie Rene Scott is a terrific villain, and the cast works its ass off in this sometimes very physical but misdirected show. We're happy at the happy ending, and lots of merchandise is bought on the way out.
