The Torrance Theatre Company housed in the “James R. Armstrong Theatre” in Torrance, California proudly celebrates their landmark twenty-fifth Anniversary season with Disney’s iconic musical “The Little Mermaid”! Based on the classic tale by Hans Christian Anderson as reinterpreted by Walt Disney Productions in the award-winning animated 1989 big-screen opus, the music is by eight-time Academy® Award winner Alan Menken with lyrics by Howard Ashman and Glenn Slater, and a book by Doug Wright. This new staging is Directed by Glenn Kelman, with Choreography by Katisha Adams and Vocal and Musical Direction by Bradley Hampton, who also conducts the 16-piece orchestra. A musical that’s perfect for the whole family, this fine fishy-fable is sure to capture your heart with its irresistible songs including “Under the Sea,” “Kiss the Girl,” and “Part of Your World.”

“Torrance is a company that believes in the arts,” First-nighters were told just before the overture; (—and the show that followed more than validated this!) Located within the “Torrance Civic Center”, The “James R. Armstrong Theatre” is a quite spacious venue and both Director and his retinue of designers certainly made the most of this (even the digital lighting that frames the playing space casts the illusion of depth and width as befitting the deep and wide expansive ocean.) It also needs to be acknowledged how the theater’s fly system is used to equally sublime effect when it is called into service to help distinguish the world “up above” and the one “down below”. Director Kelman borrows a lot in regard to others shows like “The Lion King” and “Avenue Q”, but the production here benefits immensely for such mimicry. Likewise, Mr. Kelman‘s overall concept seems inspired, much of this thanks to his exuberant (and immensely talented) cast–thirty in number. They all sincerely seem to be having a ball up there and this spirit can’t help but touch the audience resulting in a dazzlingly creative—and romantic—production that’s absolutely worth running out to see! As for the more off-the-wall “cartoon” characters (those who made the film so endearing) like “Scuttle” the sea gull, “Flounder” the clown fish, “Sebastian” the lobster and  those sinister “Electric” eels: “Flotsam” and “Jetsam”, they are brilliantly manifested here as large puppets which are operated by the actors who are speaking and singing for them. Such a tactic works magnificently. Indeed, it could even be proclaimed that the puppetry here actually “makes the show”. Consider too how children (especially those familiar with the big screen blockbuster,) are likely to want to see these characters looking the way they are familiar with, and the effect is both effective and engaging.   

  With an open invitation for viewers to discover why “everything’s better down where it’s wetter–under the sea”, one key reason in favor of this particular version is the way the writers have wisely left more room for story development and nuance that may have been lacking in the big-screen incarnation. The plot of the story should be very well known for anyone who’s ever been told a Bedtime story—it’s one of Hans Christian Anderson’s best known (and best loved) fairy tales. Although the original ending may have been personally more fulfilling for the Author, the creative team at Disney realized it may have been seen as unsatisfactory for modern audiences, so they changed it to be a more traditionally “happy” one and in doing so have essentially ‘improved’ the material! Introducing us to “Ariel”–a rebellious, headstrong, but beguilingly beautiful and very likable young mermaid fascinated with life on land, on one of her many visits to the surface, (which are strictly forbidden by her father, King Triton,) she spies, then immediately falls for a human prince named Eric. Determined to be with her new love, Ariel makes a Faustian deal with the local sea-witch named “Ursula”. Her wish: To become human (and gain two legs in place of her fish-tail) for a time of three days—by the end of which, she must convince Eric to give her true love’s first kiss. Trick is, in exchange for this, she must surrender her enchanting’ voice’ needed to entice him with. When plans go awry for the star-crossed lovers (as you know they’re going to), the King must come to the rescue, thus ensuring a joyful ending (and wedding) we all want to see!

“Dancing is a language that is felt, not heard,” Eric muses during his Second act chanson “One Step Closer”; “You can whisper, sing or shout without so much as a word!”  Choreographer Katisha Adams, along with Assistant Choreographer KaMiko Adams, also strikes gold with a plethora of amazing group endeavors starting with “The Daughter’s Of Triton” which introduces all of Ariels’ “Mersisters” and most of the court of their famous father’s subaquatic realm. In the midst of this romantic little charmer, Ms. Adams also gives us “Eric” and “Ariel” as they partake in a sweet little waltz in a style very befitting of a fairy tale. When it rolls around in the midst of Act One, “Under The Sea” (arguably one of the most known numbers from this show, having won the Oscar for “Best Song” in 1989) is staged as a rollicking “Calypso” for the entire cast (they even blithely shower real bubbles over the audience at its conclusion!) Subsequently, Act Two is effectively launched with “Scuttle’s” “Positoovity”–an off-beat production number, complete with its own built-in reprise! Here he is backed by a cadre of high stepping hoofers dressed as other ‘Gulls” who dazzle us with a nifty tap intermezzo, into which has been interjected plenty of snappy timesteps, trenches, paddle turns, wings and even some stylish buffalo steps—the whole tap-happy nine yards! Not only is this a terrific addition to the score, it’s also a heck of a way to ‘re-launch’ the proceedings after intermission. (And the ‘albatross’ get-ups the dancers wear could been worth the cost of admission by themselves!)

Our titular Heroine, the mermaid “Ariel”, is brought to vibrant life by Hannah Kobayashi who gives what could be deemed a genuine “Break out Performance”. And why not?! Ms. Kobiashi has a pure clarion voice which she puts to excellent use in the service of “Ariel’s” numerous musical interludes, her first being the dreamy  “Part Of That World (a.k.a “The World Above”) Taking place on that famous rock just outside Copenhagen harbor, count this one a flawless triumph (–and don’t be surprised either if you even get chills hearing it–I sure did!) In the second act she gives us “Beyond My Wildest Dreams”—a buoyant addition to this stage version’s ‘expanded score’—as we hear “Ariel’s” thoughts-through-song (in that at this point in the story, she cannot speak out loud.) It’s a clever device that deepens the plot and enhances our sympathy for her. Yet these are merely part of a long line of her “belt-it-to the-back-row” crowd pleasers.

   The man of her dreams, her own, personal “Prince Charming”—”Prince Eric”, is dashingly ‘brought to life’ (pun intended) by Ray Tezanos who is every bit the singing powerhouse Ms. Kobayashi is (—without question this pair are perfectly matched!) He too can express strong, if tender, emotions through song and this production is all the more mesmerizing for it.  Although ironically Eric, we soon learn, would rather be a sailor than a Prince any day, acting-wise Tezanos plays this duality very well—and it makes “Eric” a much more empathetic figure. His handling of “Her Voice” proves to be an awesome fit for his substantial vocal expertise, while effectively “jazzing up” the middle of Act One. Tezanos also scores big in Act Two with the ponderous “One Step Closer” as our boy realizes this mysterious silent lass dancing with him just could be the girl his heart has been searching for (if only he could communicate with her!) Judging from the heaps of thunderous applause opening night THIS was the major crowd-pleaser of the evening. Ariel’s father, “King Triton” the mighty monarch of the seven seas, is played by James Hormel who gives us a (slightly) younger translation of the traditional old man with a long white beard and a triton (both are there mind you, but his attitude is definitely younger, more energetic and livelier.) “King Triton’s” opening ode to his late wife, “If Only (a.k.a Triton’s Lament”)” sumptuously shows-off Hormel’s spectacular Baritone voice making one wish he had more occasions to sing in this production. Not that he doesn’t have a temper as “Ariel” learns after missing a celebration wherein she and her sisters were expected to serenade the Royal court as only a mermaid’s seductive siren song can. “As long as you live under my reef, you’ll obey my rules” he scolds “Ariel”; “No more going to the surface!”

  Meanwhile, Christopher Tiernan is the lavender-haired, octopus-legged “Vixen” (and chief Villainess of our story,) “Ursula the Sea Witch”. This is one role that can be cast as a male (as it has been here) with no loss of integrity or appropriateness.

In fact, “Ursula” was actually based on, and meant to be voiced by legendary drag queen “Divine”–who, (word has it,) was in Hollywood laying down voice tracks for the animated work-in-progress when he passed. Happily, Tiernan frankly makes all the ‘scary parts’ among the most entertaining, giving this wonderfully outrageous role his all and making the most of…well, every scene he’s in whether it be “Ursula’s” sarcastic mocking ‘ode’ to Triton’s late wife, or her chillingly underhanded handling of “Daddy’s Little Angel” (backed by her two equally treacherous ‘hench fish’: “Flotsam and Jetsam”.) Just before the curtain falls on Act One, she impresses all over again with the formidable “Poor Unfortunate Soul” –which marks the witch’s diabolical “deal” with “Ariel”: she’ll lose her flippers and fins and be given legs to go “up there” in return for her bewitching voice (and we know where this is leading: A gold medal worthy showstopper right before the act break curtain falls!)  After intermission, “Ursula’ once again joins with her two cohorts Flotsam and Jetsam for a reprise of “Daddy’s Little Angel”. Noteworthy as well are these two malevolent, “Morays”, played by Amber Florin as “Flotsam” and Pheobe Eskovitz as “Jetsam” who each also make a contribution that’s hard to beat. First, they both do a fine job with the puppetry they’ve been tasked with playing these two substantially sized “sea serpents”; However, they also make their vocal prowess known too, first as a duet with “Sweet Child” and then in the various trio’s they have with “Boss Lady” “Ursula”. These include “Daddy’s Little Angel” and then again with its second act reprise.”

Among the largest and certainly most noticeable of all the on-stage puppets is “Ariel’s” fishy best friend, “Flounder”, manipulated, sung and ‘spoken for’ by Bryan Eid. Here “Flounder” is presented as an over-sized teenage tropical sea creature who, much like our Heroine herself, is all about daring adventures with small concern (or understanding) about the world beyond the tide-pools. Although his role is a more supporting one, he delivers a remarkable-and-then-some performance throughout—not least of which being when adding his vocals to the “Mer-sisters” bouncy little ballad, “She’s in Love”. Steven Flowers too, gives a remarkable (and dexterous) interpretation of “Sebastian” the Jamaican Lobster. An audience favourite practically from the film’s inception back in 1989, even working a marionette of the character he’s portraying, this guy can really stand out (not to mention maximizing his ‘crescendo’ notes fabulously.) He makes the score’s ‘signature number’, “Under The Sea” a 24 carat highlight. Indeed, given his powerful execution, it may be better called “Over The Top”, but it’s as awesome as we all remember it to—and maybe even more because it’s a “Live” performance! Post-intermission, “Sebastian’s” narrow escape from Prince Eric’s “Executive Chef Louise” (played with immaculate comedic timing by Bailey Walker-Seiter,) which unfolds as part of “Les Poissons”, is superbly (–emphasis on the ’super”) staged as a good old fashioned, theatrical slap-stick “chase”. If still more proof were needed at how engaging Mr. Flowers has made his character, there’s his taking the lead in the smooth and romantic “Kiss the Girl” wherein he excels giving us a smooth and sultry mood setting piece (that’s also one of the bigger hits in this show.) Adding to it, here he is also joined by an offbeat choir of frogs, birds and even a skunk—that is until the mood is ruined by “Flotsam” and “Jetsam” who bring the conclusion to an ‘electrifying” end.    

Given that “Ariel” has made numerous “trips” to the surface water, she also has a friend in “Scuttle”—a charming-despite-himself, Albatross, enlivened in his own right by Ryan Johnson as his voice and puppeteer.  Some might tell you that it’s no easy task to play and sing the part of a wacky sea-bird while also effecting all the required puppetry duties this character requires, but Johnson does so with terrific poise and assurance (to say nothing of his own high-powered vocal talent with a song–which he puts in the service of “Positoovity” and “Kiss The Girl”.) Also co-starring as Ariel’s six sisters (whose names similarly all begin with “A”) are: Jenna Lockwood as “Aquata”; Gelline Ibarrola as “Andrina”; Diana Cabell as “Arista”; Eileen Cherry O’Donnell as “Atina”; Kylie Christiansen as “Adella” and Greta Cox as “Allana”. Each of their musical outings are a sheer delight and they provide their share of some pretty witty banter between them all. “She’s In Love” is a rollicking interlude –again validating what a top-notch group these young ladies are when they perform together (accompanied by Boy-Fish “Flounder”, of course.)  

From a technical standpoint, this is one of the most complex and daring productions you’re likely to see this season (or any other.) The humongous lighting effects, gratis Steve Gilter of “Street Lite LLC” are nothing short of breathtaking while adding to the illusion (when required) of being in a land “Under The Sea” or a Kingdom just above it. Gilter also sagaciously uses two color patterns for these contrasting “Worlds”. For dry land he favors pink and orange lighting, while deep green and electric blue are saved for the land down under (water, that is.) Then there are the Costume Designs by Bradley Allen Lock. Historically, one of the more challenging or problematic elements (those features that ultimately caused the original Broadway edition of the show to close prematurely,) were always dependent on getting the costumes ‘right’: How do you create dresses that suggest fish tails on the mermaids, or Ursula’s eight legs, or Sebastian’s lobster claws and tail, without inhibiting the actors’ mobility? (And this isn’t even mentioning the more complex “sea animal” characters. How could a human performer pull them off while still being able to sing and perform?) Gladly here, each costume conundrum has been handled with creativity and even virtuosity. In fact, one of the costume team’s most innovative ideas has all the mermaids (Ariel included) on skates so they all can effortlessly roll on and off stage; but these are only the start of the amazing accomplishments the costumers can boast. (And that’s not even counting Steven Flowers’ chic red top hat he wears while maneuvering “Sebastian”!) 

Even if you’ve seen the movie or other stage versions, “The Torrance Theatre Company’s” at the “James R. Armstrong Theatre” production contains plenty of awesome surprises (especially toward the finale.) THIS where the Magic, Fun and Heart” presently resides.  Having opened on Saturday, August 3^rd, “The Little Mermaid” will play through, Saturday August 17^th, 2024, at the “James R. Armstrong Theatre” located at 3330 Civic Center Drive, in Torrance California. Performances are Fridays at 8:00 PM, Saturdays at 3:00 PM and 8:00 PM, and Sundays at 2:00 PM. For more information or to order tickets log onto: https://torrancetheatrecompany.com/mermaid

Production Photos By Miguel Elliot Courtesy Of Sasha Miller and “The Torrance Theatre Company”; Special Thanks To Sasha Miller, Glenn Kelman, Katisha Adams, Bradley Hampton, KaMiko Adams, Katherine Kimball, Miguel Elliot, And To The Cast & Crew Of “The Torrance Theatre Company’s 2024 Production Of “Disney’s The Little Mermaid” For Making This Story Possible.