The Little Mermaid review

Designer Andrew Exeter’s glittering undersea sets bleed most satisfyingly into the ornate gilt of the Theatre Royal’s Frank Matcham-designed auditorium, filled, in a pre-show stroke of genius, with smoke-filled bubbles. As well as delivering the pre-interval, seahorse-drawn chariot flying over the audience and a giant shark, Flying by Foy do themselves proud, magically flying Ariel through the sets.

Maggie Lynne embraces the agency given to Ariel, defying her father as she falls in love with Christian Maynard’s underused Prince Eric. Their duets are exquisite in a show filled with song. The returning Joe McElderry as Dishy Fishy not only provides some of the standout musical moments, but also helps drive the plot and provides a foil to Adams’ comedy. Here, though, lies the pantomime’s only failing: Adams’ schtick about not liking McElderry’s singing works well, but his constant hints and innuendos about McElderry’s sexuality, although toned down from previous years, jars – particularly from the mouth of a CBBC star whose gags will get repeated in playgrounds.

Still, Adams, his father Webb as Clive Codd and Mick Potts as Man Eating Fish (and a host of other punning roles) are a physical comedy team who are joyous to watch – from the foam-filled messy routine, to a broken piano routine with McElderry and one of the best 12 Days of Christmas routines I’ve seen. Who cares that it all has little relevance to the plot? Adams’ comic timing is perfect, and occasional forays into the audience are built on trust and mutual understanding. A brilliant production, well worth travelling far to see.