Review: Disney’s The Little Mermaid at Cockpit in Court Summer Theatre

Posted on July 24, 2018 by Jason

By TJ Lukacsina

Run Time: Approx. 2 hours and 15 minutes with one intermission

Under the Sea with Sebastian (Derek Cooper). Credit: Trent Haines-Hooper

Sebastian is certainly onto something when he tells Airel that “the human world is a mess. Life under the sea is better than anything they got up there.” Especially if he’s referring to Cockpit in Court’s latest production of Disney’s The Little Mermaid, with music by Alan Menken, lyrics by Howard Ashman and Glen Slater. This production is Directed by Jillian Bauersfeld, with Music Direction by Andrew Worthington, and Choreography by Karli Burnham. Originally produced by Disney Theatrical Productions, this adaptation from Disney’s 1989 film has a book by Doug Wright which has had some unfortunate rewrites since the show closed on Broadway in 2009. I’ll be upfront in saying that the majority of my qualms for this production stem from these poor rewrites and cuts that Disney made before allowing it to be licensed to local theatre groups. In general the writing is watered down and presentational on a basic, at times insulting, level and makes you feel as if you’re watching the Wikipedia Summary instead of the show. Thankfully, Jillian Bauersfeld’s handling of the show not only makes it palatable but also an enjoyable experience for all ages.

Briefly, The Little Mermaid is about Ariel, King Triton’s youngest daughter, who wishes to pursue the human Prince Eric in the world above. She bargains with the evil sea witch, Ursula, to trade her tail for legs by giving up her voice. But the bargain is not what it seems, and Ariel needs the help of her colorful friends, Flounder the fish, Scuttle the seagull and Sebastian the crab to restore order under the sea. (www.mtishows.com)

Under the Direction of Jillian Bauersfeld, Music Direction of Andrew Worthington and Stage Management of Robert W. Oppel, this production is highly entertaining and manages to allow the audience to drift from scene to scene without any pull from the undertow. The audience feeds off the energy flowing from the stage and one can’t help but enjoy being slightly distracted from little kids singing along to some of their favorite songs. That’s when you know you have tapped into the Disney magic and are encouraging future theatre lovers.

Allison Comotto as Ariel. Credit: Trent Haines-Hooper

Walking into the theatre you are treated with a projection of a beach and the sounds of waves and seagulls to help take you away from the pouring rain outside. Creating their magical world, Set Designer Michael Rasinski should be proud of the scene shop’s execution. These beautiful set pieces are large enough to maintain their presence while the cast dances on and around them. Corals in Ariel’s grotto and individual wood planks on Eric’s ship are the kinds of details that help transport you and are much appreciated. But even with the details, a little more attention to the destruction of the grotto would have helped the audience grieve with Ariel instead of wonder why she was so upset that her thingamabobs were moved a few feet away from her whatchamacallits. However, all of these set pieces would go unnoticed if it weren’t for Thomas Gardner’s Lighting Design. Overall, the lighting is aesthetically pleasing and appropriate. The heavy use of haze allowed the lighting to be seen to help fill the full stage space but allowed the lights to become distracting during the scenes on the apron where they obscured the projection heavily. Use of moving lights helped to create the underwater effect and while effective, would occasionally get lost due to similarities in the color pallette . Mr. Gardner certainly has an eye for key moments in songs and certainly knows when and how to highlight them for maximum effect.

Deanna Brill’s Costume Design walked the line between expectation and invention. I applaud the bold choice to tastefully show so much beautiful skin and the design of the mer-tales that were as practical as they were visually delightful. The ensemble were dressed vividly while the classic looks from the movie were still alluded to, from Prince Eric’s classic outfit to even the puffy sleeves on the wedding dress. From the fish, eels and even the birds, the costumes allowed the actor’s characters to come to life. Although the designer is not listed in the program, make-up design was detailed and really helped to establish these characters as otherworldly. My main makeup concern was actually a lack of a certain makeup: the decision to not conceal actor’s tattoos. While appropriate in some shows, I found them to be a minor distraction for this production.

Gary Dieter as Scuttle. Credit: Trent Haines-Hooper

For a show that has a focus on story and is aided occasionally with dance, Karli Burnham’s Choreography helped to showcase the wonderful talent in the cast. With a working knowledge of the costumes, the choreography wasn’t limited to just foot movement but body and arm movements which allowed for a fluid movement from the actors. Some of the large ensemble numbers while portraying water felt repetitive and tedious in their attempt to fill the musical space. However, her work really shines with the small tap ensemble as well as the evolution of dance Eric teaches Ariel in “One Step Closer” was storytelling through dance.

The heavy lifting of Alan Menken’s score is in the capable hands of Andrew Worthington. The cast was well prepared and knowledgeable enough of their parts to make them their own and not rely on mimicking the original cast recordings. All voice parts were balanced and easily heard along with the pit thanks to the constant vigilance by sound designer Brent Tomchik. Following Mr. Worthington’s conducting was a competent orchestra consisting of established musicians in the area: Stephen Deninger, William Zellhofer, Christopher Rose, Stacey Antoine, Joseph Pipkin, William Georg, and Gregory Troy Bell. While proficient and accurate, the orchestra only suffered from a lack of actual brass and additional woodwinds. Even though those parts were covered in the keyboards, I found the patches were inconsistent among themselves and rarely compensates for the timbre from the actual instrument.

All these designers were able to achieve on a level which produced a thorough and consistent vision from Director Jillian Bauersfeld. With the aid of Assistant Director Jake Stuart, the cast is able to portray these fantasy characters with heart, believability and a recognizable humanity. While working under the shadow of a Disney title, it’s difficult to produce a show that allows artistic freedom with a vision while still giving the audience a dose of their expectations from the movie which kicked off the Disney animated renaissance. Ms. Bauersfeld was able to give us a cast worth watching and set up a show that ran smoothly. Small decisions to have the sea characters constantly moving arms or allowing several acting choices that were inconsistent to their characters are minor annoyances and never hurt the overall enjoyment. The true art of directing is assembling the right team to find the right cast and crew and allow everyone to do what they do while pushing them for more. Congrats to Ms. Bauersfeld on your ability to inspire everyone to give their best!

(l-r) Josh Schoff as Flostom, Holly Gibbs as Ursula, and Jonah Wolf as Jetsam. Credit: Trent Haines-Hooper

I have always felt that some of the hardest working actors seem to get lost in the ensemble. When asked to play several different characters, help shift set pieces, and often run off stage only to completely change costumes and makeup and run back on stage for two minutes of a three minute song, it’s hard to remember what is next let alone your name. Major kudos to Nicole Arrison, Olivia Aubele, Amy Bell, Lanoree Blake, Katelyn Blomquist, Karli Burnham, Kelsey Feeny, Shani Goloskov, Aaron Hancock, Mark Johnson Jr, Dorian Smith, Ian Smith and Jose Teneza for your energy, talent and being consistently in character. These actors jumped from the sailors steering the ship and winding the rope, to King Triton’s court, to the seagull ensemble, chefs and Ariel’s attendants in the castle and were always able to help establish the mood of the scene.

Featuring Ellen Manuel (Aquata), Elisabeth Johnson (Andrina), Malarie Zeeks (Arista), Kaitlyn Jones (Atina), Emily Caplan (Adella) and Hannah Bartlett (Allana), Ariel’s mer-sisters were a wonderful balance to Ariel’s positive and dreamy attitude. Using different hair styles and different shells while porting vastly different personalities and physical traits, each sister managed to be her own while presenting a unified front in their featured numbers “Daughters of Triton” and “She’s in Love.” Pulling double duty, they are a delight to see on land competing for Eric’s love in the vocal contest that plays up the fantastically poor vocals of these characters.

Brian Jacobs as Chef Louis. Credit: Trent Haines-Hooper

In supporting yet memorable roles, Brian Jacobs revels in playing Chef Louis during “Les Poissons” while Nicholas Pepersack’s dignified and proper Grimsby was always moving with purpose on stage. Mr. Jacobs clearly enjoys his song and slashes into his character to the breaking point of the cleaver. A fun cameo for sure that was able to get the giggles and laughs from the audience. Grimsby’s conversation with King Triton really gives Mr. Pepersack a moment to have a heartfelt moment and show how proud he is of Prince Eric.

My scene-stealing award goes to Gary Dieter who simply was Scuttle from the moment he flew in to his flawless tap dance in “Positoovity.” Scuttle was over the top and as endearingly annoying as I remember from the movie. It was hard not to smile when he was visible. Sharing the stage with him most of the time and impressively holding his own ground was Adrien Amrhein as Flounder. With sweet dance moves and a solid voice, this kid will secure more roles on stage and we will benefit from seeing him. Dutifully performing a poorly written character, his choices to not emphasize being friend-zoned and play up the best friend were appreciated.

Slithering onto the stage on their matching scooters were Josh Schoff as Flotsam and Jonah Wolf as Jetsam. The choice of scooters to maneuver them around stage was inventive and paid off in execution. Both actors were able to skillfully incorporate them in their character and not rely on them as a crutch. They were perfect henchmen to Holly Gibbs’ Ursula. Having arguably both the best and worst songs in the show, Ms. Gibb was able to make the most of her voice and complemented with acting ability that emanated from all eight limbs.

As ruler of the sea, Mark Lloyd’s King Triton managed to capture the softer side and showcased his mourning for his deceased wife and inability to properly communicate with Ariel. “If Only” is a great song to show that Triton is more than just a fierce ruler who banished his sister to a small part of the ocean but is also a parent who is sometimes unsure how to parent. He relies on Sebastian, played by Derek Cooper, to spy on Ariel and win her trust. With a clever costume and sublime vocals, Mr. Cooper is able to bring Sebastian into our lives with his own lovely interpretation. “Under the Sea” is his time to shine and when out in front singing he earns your attention with powerful falsettos and fantastic facial expressions.

The Daughters of Triton. Credit: Trent Haines-Hooper

Our leading man, Jim Baxter hits the stage as Prince Eric while taking charge of his ship. Mr. Baxter certainly looks every bit of what you’d expect from the cartoon and captures his love for adventure when on the ship and when courting Ariel in the second act. When beginning “Her Voice” he was oddly out of breath but managed to salvage some and really drive the second half of his number home with gusto and emotion. Not to be out-done by her new fiance, Allison Comotto’s Ariel is exactly what you could want from a Disney princess. Ms. Comotto is able to capture Ariel’s longing and desire to escape all while dealing with difficult family members. Allison really comes to life in Act two when her curiosity and excitement can only be communicated through her facial expressions. The joy Ariel finds in the new world is brilliantly shown during “Beyond My Wildest Dreams” where she sings her inner monologue to us. But however fantastic she is, she is at her prime when singing “Part of Your World.” Congratulations on your fairytale engagement and for inspiring a cast to follow your lead.

Disney’s Little Mermaid is a local theatre production that is able to rely on the community of actors, crew, musicians and artistic staff to bring its own magic to the stage. They should be proud of the work that they have poured into this show. The perfect escape from the summer heat, bring the family to see Cockpit in Court’s production where “it’s better down where it’s wetter.”

Disney’s The Little Mermaid will run through Auguest 5 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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Review: Das Barbecu at Spotlighters

Posted on October 25, 2016 by Jason

By Jason Crawford Samios-Uy

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Running Time: 2 hours and 30 minutes with one 15-minute intermission.

A series of Wagner operas and the great state of Texas?! Can the two mix? Sounds crazy, right? Well, Spotlighters Theatre‘s latest contribution to Baltimore theatre, Das Barbecu, with Book & Lyrics by Jim Luigs and Music by Scott Warrender, proves that it can be so. Directed by Greg Bell, with Music Direction by Michael Tan and Choreography by Jillian Bauersfeld and Greg Bell, Das Barbecu manages to take Wagner‘s complex four-part Ring Cycle opera and make it just a little more accessible and (some would argue) more interesting and fun for audiences not so versed with the classics. Now, this isn’t to say that Das Barbecu is a dumbed-down version of the Ring Cycle, but more contemporary and in-tune with today’s audiences. The story, characters, and message is still in tacked, only now it has a charming Texas drawl.

Rob Wall and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

The intimate, in-the-round space at Spotlighters would usually be a challenge for a show like this with its multiple locations and, well, they say everything is bigger in Texas, but Spotlighters has a lot of experience putting big shows up in this small space and Set Designer Alan Zemba used his space very wisely. With simple yet creative set pieces, Zemba manages to take the audience from the garden of a palatial mansion to a vast ranch, to bedrooms, then to a bar, then to the top of a mountain, then to a barbecue (whew!), all with minimal set pieces. Not only was the set creative, but it is easy and practical enough for the stage crew to get on and off quickly. I will say, however, there were a few scene changes that seemed a bit longer than usual, but all in all, the stage crew had razor sharp, rehearsed precision and the set worked beautifully with the piece and certainly helped tell the story.

The cast of Das Barbecue. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Adding great value to this production is Costume Design by Andrew Malone. There are so many characters in this piece played by only five actors, Malone does an impeccable job making each character absolutely individual and memorable with simple, yet noticeable wardrobe changes. An actor can play up to five characters, but, because of the character costumes, it is easy to distinguish each character, which is invaluable with this involved, twisting story. Major kudos to Andrew Malone for his creative and flawless design.

With the space being as intimate as it is, Light Design by Al Ramer is simple, yet very befitting to this production and did not impede but enhance the action onstage. The lighting is well thought-out and sets the proper mood for each scene helping move the story along.

Moving into the production aspect of this piece. Choreography by Jillian Bauersfeld and Greg Bell is fun and very appropriate for this piece and the space in which it is performed. The dancing is tight and entertaining and adds to the production rather than takes away from this piece. Also, the actors are comfortable with the choreography and perform it confidently and with high energy making it enjoyable to watch.

Allison Comotto and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Baltimore theatre veteran Music Director Michael Tan does not disappoint in this production. He manages to take his small cast and have them harmonizing and blending beautifully to bring this story to life. Some songs are funny and some poignant, but whichever mood, under the direction of Tan, the actors seem to understand what these songs are about and perform them accordingly. It helps that the most of the ensemble is already strong, vocally, and Tan uses this to his advantage making for a very impressive showing.

Directing 5 actors to play 26 characters can be quite a challenge for any director, experienced or otherwise, but Greg Bell takes on this challenge and executes his impeccable skill. It is important for whomever takes the reigns of this piece to completely understand the story of Wagner’s complicated Ring Cycle and Bell seems to have a tight grasp and his vision for this piece is apparent and well put together. He excels in blocking his actors to keep the story moving smoothly and at a near perfect pace. Though, as an audience member, I did have to do my part by paying attention, but the story was presented to me clearly and I wasn’t scratching my head or asking questions during intermission or after the performance. Das Barbecü is another well-done project from Greg Bell.

Jim Gross. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Jim Gross, a.k.a. Actor 4, takes on the role of Woton, Gunther, Hagen, a Texas Ranger, and a Giant and, according to his bio, is back after a year hiatus from the stage. He gives an admirable performance having to take on so many characters and keeping each an individual through not only costumes, but mannerisms and physicality, as well. His Texan/Southern accent could use a bit more work as I don’t hear much of one throughout and his solo number “River of Fire” does fall a bit flat for being so early in the second act. However, he does hold his own commendably against the other strong actors in the ensemble and his performance is to be applauded.

Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Clare Kneebone was last seen at Spotlighters in Tick, Tick… Boom! and, in this production, she is known as Actor 3, taking on the roles of Brünnhilde, a Norn Triplet, a Texas Ranger, and a Rivermaiden. Kneebone is comfortable on this stage and takes strong command when she appears. Though this is a complete ensemble piece, she takes on what’s closest to the female lead in this piece and she gives a confident, natural performance. Her beautiful, strong vocals b
lend very nicely with the ensemble and shine through in her solo number “County Fair.” Kneebone is a joy to watch and I look forward to experiencing her future work.

Rob Wall. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Rob Wall is no stranger to the Spotlighters stage, also having been last seen in Tick, Tick… Boom! Wall takes on the responsibilities of Actor 5, performing the roles of Siegfried, a Norn Triplet, Milam Lamar, Alberich, and a Giant. Taking on what could be considered the lead male role, Wall gives a very enjoyable, strong performance. His gorgeous, booming voice resonates throughout the theatre but he blends well with the ensemble, filling out the sound beautifully. He is able to separate each character he plays and give them each their own respective lives. He understands his characters and works hard to bring them to life. He has a great command of the stage and seems quite comfortable and natural in his roles and this is another great performance from Rob Wall.

Allison Comotto is Actor 1 and takes on the roles of Gutrune, a Norn Triplet, Freia, Y-Vonne Duvall, a Rivermaiden, and a Valkyrie. She, too, is a veteran of the Spotlighters stage having been last seen in Zombie Prom.

Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Comotto is a busy bee in this production but she is certainly a highlight with her spot-on comedic timing and natural acting chops that make her characters very enjoyable to watch. Vocally, she’s strong and is able to hold her own in the harmonies and blends well. Not to beat a dead horse, but her comedic timing is absolutely flawless. Her character, Y-Vonne Duval (actually pronounced WHY-vonne), a high society Texas wife who knows all the gossip in town, is just plain hysterical. She’s comfortable on stage and has a very strong presence that makes one take notice. Her natural talents are a joy to watch and I’m looking forward to seeing more from Ms. Comotto in the future.

Andrea Bush. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Lastly, but certainly not least, Andrea Bush, who is most decidedly another standout of this production. Bush is an absolute pleasure to watch as she navigates through her characters as Actor 2, taking on the roles of Narrator, Fricka, Erda, Needa Troutt, Back-Up Singer, Katsy Snapp, a Rivermaiden, and a Valkyrie. For as many characters as Bush had to play, she transitioned seamlessly and gave each character an individual personality, displaying her on-point acting skills. Vocally, this woman has some strong pipes and her booming voice is an asset to this piece. In both her comedic and more serious numbers, she gave a strong vocal showing and found the feeling in every song through her performance. Her comedic timing is outstanding and she seems to understand all her characters and the story, allowing her to give an assured performance that adds value to this production. She’s defintiely one to watch.

Andrea Bush and Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Final thought… much like the Looney Tunes made Wagner much easier to swallow (and introduced children and a lot of adults to the opera genre), Spotlighters production of Das Barbecu takes a complex, classic piece and makes it more accessible and funny. Wagner’s Ring Cycle is not a piece I am entirely familiar with, but now, should I delve into a performance of it somewhere in my journeys, I’ll have a better understanding of the story and will probably appreciate more than I would have going in blind. Who knew Texas and a Wagner series of operas would mesh so well together?

Want another point of view? Check out what The Bad Oracle had to say!

Das Barbecu will play through October 30 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.