The Little Mermaid – Newcastle Theatre Royal

Writers: Michael Harrison and Ed Curtis with Danny Adams and Clive Webb

Director: Michael Harrison

The Theatre Royal pantomime has become somewhat legendary, and with good cause. Having hit upon a winning formula nearly two decades ago, this annual event has become increasingly spectacular and elaborate while maintaining the core ingredients that make it work so well: namely Danny Adams, Clive Webb, Chris Hayward and writer/director Michael Harrison. While The Little Mermaid isn’t a common choice as a panto, it proves to be the perfect springboard for this dream team to once again hit a homerun.

Central to everything are of course Adams (as Danny Crabstix) and Webb (as Clive Cod), barely involved in the plot and yet dominating the show. Adams is a consummate clown in the very best sense of the word. Thanks to his now massively familiar catchphrases, gurning rubber face, amazing physical comedy skills and his impeccable verbal timing, Adams was born to perform, and pantomime is clearly the perfect vehicle to showcase his amazing talents. The audience loves him and deservedly so, as he works very hard to make sure everyone has a good time. Alongside him is real-life father Webb: the perfect foil for Danny, while also easily managing to get big laughs himself. Their chemistry is obvious and it’s always lovely to see them give each other a big hug in the finale.

Chris Hayward also returns this year, although in the guise of the evil Sea Witch instead of his usual bubbly dame personality. His presence and vocals are as good as ever, and his always-changing costumes are as spectacular as always He delivers a great villainous vibe. Another returning cast member (although a relative newcomer compared to the other three) is Joe McElderry as a character called (believe it or not) Dishy Fishy. Since winning The X Factor in 2009, McElderry is well known for his powerful vocals. However, his annual visits to Pantoland let him show off some surprisingly good comic abilities as well as a wonderful sense of humour that allows him to be the butt of many, many of the jokes. His interactions with Adams are priceless, this year involving a grand piano and some extremely weird mermaid costumes.

The rest of the cast are an easy match for the leading players. Christian Maynard shows some strong dancing and singing talent as Prince Eric, Wayne Smith (another returning cast member) is King Triton, Kylie Ann Ford and Christina Berriman Dawson are a pair of slippery eels, and Maggie Lynne makes for a sweet Ariel, even if she is completely side-lined in her own story! But once again, stealing the show without uttering a word is the inimitable Mick Potts, who seems to randomly wander on stage looking either confused or amusingly smug while dressed in one of a parade of bizarre costumes. His almost surreal inclusion is always a highlight.

Pulling all of this talent together to create theatrical magic is Michael Harrison. His script (co-written with Ed Curtis and with contributions from Adams and Webb) is hilarious, built around the lead duo’s skits but still managing to tell a cohesive story while also delivering topical gags, panto staples, and a good dose of jokes for the parents. While the plot stays close to that of the Disney adaptation, apart from a few character names and oblique references, this version of the story is pleasingly very much its own thing. Avoiding the obvious by not featuring any of the Disney songs, this instead has a largely original score with songs that drive character and plot. Meanwhile, Harrison’s direction is also superb, utilising as it does all areas of the stage (and beyond) and making the most of this cast’s many talents.

At a time when ticket prices are soaring and theatrical tours are cutting back on costs, it is refreshing to attend a show where one can see every penny that was spent. From the beautiful bespoke staging, to the Las Vegas showgirl-standard costuming, you will easily feel like you have had your money’s worth. An enchanted seahorse, a giant shark, magical flying effects and eye-popping lighting all enhance what is already a feast for the senses. During the now traditional rendition of The 12 Days of Christmas, there is a (brilliantly conceived and executed) joke which lasts literally ten seconds and yet probably cost as much as some pantomime’s entire budgets!

While this doesn’t quite hit the heights of last year’s Pinocchio, The Little Mermaid is still a guaranteed crowd pleaser that will make a big splash with the entire family. Not to be missed.

Runs until 12th January 2025