The company of Dallas Theater Center’s ‘The Little Mermaid.’ (Photo by Karen Almond)
When I walked into the Wyly last Wednesday, The Little Mermaid‘s stage made a huge impression. Looking larger than ever before, the set filled its space with gorgeous blues and greens that welcomed the audience to the underwater world where much of the story happens. The silhouetted orchestra onstage added to the statement Dallas Theater Center made of going all out for this production – or rather, event.
Dahli Al-Hablell’s scenic design and Amanda West’s lighting created a fully-realized world that was crucial for the show to work. The set was all so lush using not only a variety of shades, but still employed bright, beautiful colors and mirrored surfaces. The set was crafted smartly that it helped keep the show captivating along with Claudia Jenkins Martinez who designed the proper underwater sounds for the show.
Christina Austin Lopez’s Ariel was every bit the Disney princess through specific characterizations and actions. She was a strong protagonist and an ideal romantic lead. Lopez’s voice was exceptional, bringing Ariel’s precious talent to life with crystal-clear vocal runs. When the character finds her legs, it was easy to feel Ariel’s struggle to walk as Lopez captured that clumsy physicality like a baby animal finding its footing.
Kevin Solis’ Prince Eric was a departure from the usual self-assured Disney prince. His Eric was a complex character, displaying a range of emotions from sensitivity and bravery to chivalry and dismay. His chemistry with Lopez was tender and dynamic as he grappled with the realization that she was the one he had imagined.
The two actors carried the love story, but Zachary Willis made a big splash as Sebastian, Ariel’s appointed guardian. Willis played the role free of excessive buffoonery yet still created a character that was a madcap experience each time he was onstage. Liz Mikel’s Ursula was pretty much iconic. Her commanding voice gave Ursula a dramatic presence, but Mikel commanded the character with delicious evil that extended to her fingertips, tentacles and vocals.
Like the set and lights, Hope Cox’s costuming, hair and makeup across this extensive cast of adults and children never faltered. She gave such attention to every character that it might be easy to stare at each costume. The quality was topnotch and with all its colors and textures, the wardrobe deserved a few extra looks.
The show and cast was massive but moved seamlessly under Kevin Moriarty’s direction with Marc Quach’s assitant directing. Vicky Nooe’s music direction and orchestra tapped into both the grandness of the show and its quieter notes. Like Moriarty and Quach, Tiana Kaye Blair transformed a multitude of young and seasoned actors into stellar dance numbers with exciting and fun choreography.
The cast and crew created The Little Mermaid as an immersive experience with the cast running in and out through the audience as well as chase scenes throughout all the floors of the Wyly. Audience members were brought onstage and songs were shared with the crowd.
One moment did distract where a guest judge was brought up to help select one of the potential brides and one potential husband auditioning to catch Prince Eric’s eye. The guest was introduced with their local “credentials” but overall, it deflated the energy in that moment. In short, it was a confusing halt.
But The Little Mermaid cast – like 100 of them – all performed with gusto and excitement making for a dreamlike magical world that you almost didnt’ want to leave.
The show runs through Aug. 4.
–Rich Lopez