Review: The Little Mermaid, Leeds Grand Theatre

It all began with Casanova choreographed by Northern Ballet old boy Kenneth Tindall. Following that stunning production was never going to be easy and The Boy in the Striped Pyjamas performed to mix reviews. Closing the year comes The Little Mermaid.

Artistic director David Nixon is back at the helm of this one and it shows. Given that half of Hans Christian Andersen’s tale of a mermaid who gives up her voice - and her tail - for love takes place underwater he could have given himself an easier gig, but there are some beautiful moments here as we are introduced to Marilla and her two mermaid sisters.

There are no flashy special effects, no expensive illusions just a skilled company who for successfully turn the stage of the Leeds Grand into a watery underworld.

There are problems though and most lead back to Sally Beamish’s score. A Celtic influence runs through the piece which adds an ethereal element to the underwater scenes. However, it lacks the darkness the tale demand.

Scenes with Lyr, Lord of the Sea, who delivers Marilla’s ultimatum could have done with an injection of Robert the Bruce firepower and on land the wedding party promises a full-on ceilidh but never quite delivers.

There are some accomplished performances here though, not least from Abigail Prudames in the title role. Special mention too to Pippa Moore as mother of the prince Marilla falls for. Now in her early 40s she is Northern Ballet’s elder stateswoman, but given that she looks and moves as though she is 10 years younger it might have been worth popping her in a grey wig to avoid confusion.

Running to a pacey two hours, including the interval, The Little Mermaid will keep little ones entertained and aside from the final clunky moment involving a wire and a glass bauble it is for the most part a festive feast for the eyes.

To Dec 17.