The Little Mermaid as presented by Ballinasloe Musical Society

Society name: Ballinasloe Musical Society

Show name: The Little Mermaid

Adjudicator date of attendance: 22/03/2025

Brief Overview of Show and Evaluation of Front of House

Ballinasloe Musical Society brought the magical underwater world of Disney’s The Little Mermaid to life with a vibrant and joyful production that delighted its audience. A beloved tale that blends fantasy with themes of longing, belonging, and transformation, this musical presents considerable technical and artistic challenges. The society met these challenges with charm, colour, and a clear sense of ensemble unity.

Front of House offered a warm and welcoming presence. From the moment patrons arrived, they were greeted with friendly faces and a well-organised lobby that maintained the festive atmosphere of the production. House management was smooth and efficient, and transitions in and out of the auditorium were handled with professionalism.

Director- Direction and Production

The direction by Ronan Lardner of this production showed a clear vision and enthusiasm for storytelling. There was a solid understanding of the world of the play, and the tone remained cohesive throughout. From a visual perspective, the show flowed well. The production struck a balance between its child-friendly fantasy and the deeper emotional undercurrents of its characters’ journeys.

Blocking was largely well-considered. Scenes were well spaced and used the stage dynamically, although a few moments would benefit from more detailed practical consideration. For instance, the ship set could have been larger to better accommodate the crew and give the opening scenes more visual impact. Similarly, the dinner scene table was placed too far upstage, which distanced the actors from the audience and lessened the comedic and emotional resonance of the scene.

Pacing was strong overall, with energy maintained across the majority of the performance. There were a few moments where transitions dragged, particularly during set changes. Nevertheless, the overall flow of the story remained intact.

One area that stood out as needing more detailed attention was the puppetry. The use of puppets in this show is a brilliant opportunity for visual storytelling, but their execution requires precise direction and choreography. Unfortunately, the puppetry lacked the confidence and skill needed to fully integrate the characters into the story. Performers did their best, but greater instruction on eye-lines, coordination, and puppet movement would greatly improve these moments in future.

That said, the director clearly fostered strong performances from the leads and a sense of unity among the ensemble. Characterisations were thoughtful and often inventive, even where the script provides little room for development. The balance of comedy, drama, and fantasy was nicely managed.

Musical Director- Direction and Orchestra

Musically, this production was on very solid ground under the baton of Shane Farrell. The sound created by the pit band was rich and supportive, enhancing the storytelling without ever overwhelming the vocals. The musical director clearly had a strong grip on the score’s demands and guided the ensemble with precision.

The balance across the instrumentation was excellent. No one section of the band dominated, allowing the melodies and harmonies to blend naturally. There were some wonderful moments of dynamic control, and the musical underscoring always supported the mood of the scenes effectively.

Choral harmonies, when present, were pleasing and well-tuned, though at times they felt a little sparse. Increasing the depth of harmonic content, especially in ensemble numbers, would have added a further layer of musical sophistication. Still, the vocal confidence of the cast was a highlight, and the MD clearly worked hard to create a polished and engaging musical landscape.

Choreographer- Choreography

The choreography by Aoife McClafferty was ambitious and inventive in places but did not always maintain consistency. There was a clear understanding of how movement could reflect character and environment, and the cast approached their choreography with energy and commitment. The opening number held potential for more character-driven, quirky choreography. It felt somewhat safe, especially given the whimsical opportunities within the song. The number Under the Sea, which should be a showstopper, had moments of charm but became repetitive in its movement vocabulary and lacked the crispness needed to give it real impact. The full cast gave it their all, but further cleaning and variation would elevate the piece.

Conversely, the pax de deux was a true highlight. This duet between the two leads was graceful, emotive, and beautifully suited to their strengths as performers. It brought a wonderful stillness and intimacy to the show that contrasted effectively with the more energetic ensemble pieces.

Positoovity, while upbeat and engaging, suffered from the tightness of the taps on the shoes. The taps were not loud or clear enough to register fully with the audience. Les Poisson’s leaned into chaos, but in doing so, lost some of its structure. Slapstick requires precision, and while there was evident enthusiasm, the timing and coordination needed further sharpening. This scene would benefit from additional comedic “business” to flesh out the visual humour. Kiss the Girl was sweetly staged but underutilised the ensemble. With such a tuneful and romantic number, there is ample opportunity to layer in gentle choreography or additional movement from the chorus to enhance the atmosphere.

Leading Principles – Singing and Acting

Ariel – Emily Uí Cheallaigh: Emily delivered a standout performance that anchored the entire production. She embodied Ariel with a natural charm, grace, and youthful wonder. Her physical performance, especially during the scenes where Ariel had no voice, was deeply expressive. Facial expressions conveyed emotion clearly, and she used her body with confidence and intention. Vocally, Emily was exceptional. Her transitions between chest and head voice were smooth and well-controlled, and she sang with an emotional clarity that drew the audience into Ariel’s inner world.

Prince Eric – Jamie Callanan: Jamie brought charisma and presence to the role of Prince Eric. His portrayal captured both the nobility and the vulnerability of the character. His vocal delivery was polished and rich, and his performance had an effortless charm. Notably, his dancing was a strength – a refreshing and impressive surprise that added texture to his character.

Sebastian – Eoin Croffy: Eoin gave a committed performance with great vocal consistency and a flawless Caribbean accent that added authenticity to the role. His physicality was lively, though he occasionally seemed a little uncertain. More direct engagement with the other characters on stage, rather than a side eyed delivery, would have helped maintain energy and connection. Nonetheless, he offered warmth and humour throughout.

Flounder – Teagan Farrell: Teagan was a delight onstage. Her enthusiasm was contagious, and her commitment to character never wavered. Her dialogue delivery was sometimes tentative, but this is something that will improve with experience.

Once the music began, she lit up – vocally strong, assured, and confident. Her dedication, including keeping up the underwater arm movements during bows, showed tremendous professionalism and passion, making her one of the production’s brightest sparks. 

Ursula – Heather Colohan: Heather had the vocal power and physical presence to command the stage. Her performance felt too restrained and static. Ursula is a character brimming with theatrical potential, and while Heather hinted at this, she didn’t fully unleash the villainy or flair that the role demands. A more expansive physical performance and greater play with dynamic energy would have elevated her portrayal.

King Triton – Paul Singleton: Paul brought authority and warmth to the role of Triton. His voice was commanding and rich, though his physical performance was somewhat hindered by the tail costume. Despite this limitation, he conveyed a full emotional arc and gave a convincing portrayal of a conflicted, loving father. His singing voice had a lovely mellow tone that added gravitas to his scenes.

Supporting Roles – Singing and Acting

The Mersisters- Sara Jane Mangan, Aoibhínn Goode, Rachel Walker, Kate Timothy, Bláithín McCann, Sadhbh Mechan.The Mersisters formed a strong and engaging ensemble, delivering clear harmonies and bringing individual character to life with flair. Their distinct personalities added colour to each of their appearances, and several lovely comedic moments were well played. While the group worked well together overall, there were occasional dips in energy and focus that, in such a small ensemble, were more noticeable. With more attention to maintaining consistency throughout, this already promising group could shine even brighter.  

Grimsby – Padraic McDonagh: Padraic gave a grounded performance with suitable stuffiness and paternal concern. Accent work occasionally wavered, but his scenes with Eric were tender and believable.

Scuttle – Adam Carr: Adam was a comedic gem. His take on the character was refreshingly unique, and his consistent vocal choices and physicality made him stand out. A warm and quirky performance that won over the audience.

Chef Louis – Paul Masse: Paul brought high energy, but the lack of control in physical comedy made the scene feel chaotic. With more precise timing and structured gags, this number could become a real show-stealer. His authentic French accent really added to the character.

Flotsam & Jetsam – Adam O’Kane & Ruth O’Neill Adam and Ruth were vocally effective with their sibilant dialogue but needed much stronger puppetry technique. The physical manipulation of their eels lacked coordination with the dialogue. Greater direction in puppet work would significantly improve these roles.

Pilot – Cian O’Ceallaigh: Cian gave a perfectly serviceable performance, but the role didn’t leave a strong impression. A bit more presence and projection would help elevate the character’s impact early in the show.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble were a high-energy, cohesive group that brought joy and enthusiasm to the production. They clearly enjoyed themselves, which translated directly to the audience’s enjoyment. Their commitment to characterisation was strong, and their focus never wavered.

From sailors to sea creatures, each ensemble member contributed to the world of the play.

Vocally, the ensemble produced a solid sound, with moments of excellent diction and dynamic variation. Harmonies were often underused or too light to make a significant impact.

A fuller choral sound would elevate big group numbers, giving them the grandeur they deserve.

Particularly commendable were the seagulls, who brought standout energy and sharp character work. They were a comedic and choreographic highlight.

Stage Management & Set Design

Set design was clever and adaptable. The use of projections added depth and visual interest and complemented the physical set pieces effectively. Moving elements were thoughtfully constructed and painted with care. There was some inconsistency in how projections were used during transitions – a clearer choice on whether they remain on or fade during scene changes would improve cohesion.

Stage management showed commitment but struggled with pace. Scene changes occasionally felt slow or disrupted the rhythm of the story. Smoother transitions would help maintain momentum and immersion.

Technical – Lighting and Sound

The lighting design created some beautiful stage pictures, particularly in combination with the projections. It helped to differentiate the various locations – undersea, on land, in the palace, etc. However, the rig seemed capable of even more, and some scenes could have used additional lighting creativity.

A recurring issue was actors moving outside the lit areas during smaller scenes, such as in Ursula’s lair. A closer collaboration between lighting and direction would help avoid these moments and maintain focus where it belongs.

Sound design was generally strong. Vocal amplification was clear and well-balanced with the band. Cues were timely, and no mic issues or missed entrances were noticeable. It’s a real achievement to blend the live band and voices so well in a show with such dynamic musical shifts.

Visual – Costumes, Hair and Makeup

Costumes were delightful and well-matched to the fantastical world. Bright, well-fitted, and thematically appropriate, they did much to bring the undersea kingdom to life. Some more variation in “Under the Sea” costumes would have been appreciated to add visual interest.

Hair and makeup were thoughtfully executed, maintaining continuity with costume design. Wigs were generally well-integrated, although Prince Eric’s was noticeably artificial due to its sharp hairline. A softer lace or styling approach would enhance realism in future.

Triton’s tailpiece was visually effective but clearly hampered movement. A redesign that balances aesthetics and mobility would better serve both actor and audience.

Adjudicator’s Comments and Suggestions

Ballinasloe Musical Society’s production of The Little Mermaid was a joyful, enthusiastic, and largely successful staging of a beloved family musical. The society should be proud of the energy, commitment, and community spirit evident throughout the evening.

To enhance future productions, here are a few key suggestions:

• Pacing and Transitions: Smoother scene changes and quicker transitions will keep the show’s rhythm strong.

• Puppetry Training: Focused work on puppet technique and integration into performance will lift visual storytelling significantly.

• Choral Harmonies: Deepening ensemble harmonies will add richness and elevate musical numbers.

• Physical Comedy: Structured direction for slapstick scenes will ensure that chaos reads as controlled humour.

• Lighting Precision: Tighter coordination between lighting design and blocking will help focus audience attention and maximise stage space.

• Costume Functionality: Ensure costumes, especially larger pieces, allow performers to move freely while maintaining visual impact.

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Overall, this was a commendable effort filled with heart, talent, and potential. The audience responded with genuine delight, and the society’s passion for theatre was clearly on display.