COCA’s ‘The Little Mermaid’ Presented with Comedic and Theatrical Flair

COCA’s ‘The Little Mermaid’ Presented with Comedic and Theatrical Flair

By Lynn Venhaus

For COCA’s magical production of Disney’s “The Little Mermaid,” I had the pleasure of being surrounded by beloved family for a special afternoon of live musical theater.

This was not an assignment for regional professional theater reviewing, but rather supporting the arts and being with people I love. It was a charming and delightful show Sunday, the last of six performances this July – and the audience was clearly appreciative of this momentous labor of love. It was just fun to be a part of, and watch families enjoy the experience.

As a fan of the show, seen multiple times, it was heart-warming to see how transfixed my guests Josie, 9, and Meadow, 3, were by the fairy tale’s whimsy and wonder, and so were us moms and company. I spied many little girls in mermaid outfits in the beautiful Catherine B. Berges Theatre in University City.

So many fine elements were impressive – the vibrant characters in the underwater kingdom, the dazzling seascape, the glistening costumes, and the lush orchestrations. Shout-outs to scenic designer Seth Howard, technical director Cameron Tesson, costume manager Cody Floyd, Jayson Lawshee-Gress’ lighting designs and Luke Bowers’ sound designs.

Kaelyn McCurtis as Ariel

With that many costumes, special mention to assistant costume designer and draper Meredith LaBounty and costume shop manager Ari Stern. And to the volunteer make-up artist Michael Coleman.

It’s the first COCA musical directed by Will Bonfiglio as the Artistic Director of Theatre, and he surrounded himself with a strong creative team. Peerless Larry D. Pry as the music director and vivacious choreography by alum Alisa Cooper.

The production benefitted from student assistant director Aspen Meyer and JiaLi Deck as alumni assistant choreographer. And no production can do without a stellar production manager (Carolyn Carter), with assistants Lexi Sims and Gray Campbell, and youth manager Cassie Gant, who also served as an effective prop designer.

Always a fan of Bonfiglo’s innovative eye, he has an imaginative, clear image of an overall picture and how to achieve maximum heart-tugging. To date, Bonfiglio is the only three-time St. Louis Theater Circle Award winner as lead actor in a comedy.

Dr. Philip A. Woodmore as King Triton.

Bonfiglio incorporated so many enchanting aspects – including aerial wizardry! (Kudos to flying effects by On the Fly Productions and fly operators Mason Hunt, Connor Kielty, Isaac Bunting and Elliot Wright).

He set the shimmering tone in the opening “The World Above,” and the cast quickly endeared themselves. Kaelyn McCurtis was a spunky, engaging Ariel with a gorgeous voice, and Xander Ungerboeck was a likable Prince Eric.

Nayomi Shackelford was quite the villainess as Ursula – and special shout-out to Ursula’s shell designer Bess Moynihan. Flotsam and Jetsam looked great – Rian Page and Karajana Caplinger were quite nimble, too.

Grimsby is always an unsung hero, so bravo to Grayson Ritson for an impeccable job keeping the show moving fluidly. Ariel’s six sisters had fun with their roles – Nora Griswold, Clara Garcia, Cora Donaldson, Haylin Travis, Peyton Webster, and Molly Fitzpatrick.

Ariel’s sisters Nora Griswold, Clara Garcia, Cora Donaldson, Haylin Travis, Peyton Webster, and Molly Fitzpatrick with Flounder Nora Turner.

With adorable cheerfulness, the 16-person featured ensemble and the 13-person guppy and gull ensemble added to the show’s big, bright numbers. The cast included student performers, alumni, and adult professionals – including COCA’s Dr. Philip A. Woodmore, Artistic Director of Voice, as King Triton.

They sung their hearts out of composer Alan Menken and lyricist Howard Ashman and Glenn Slater’s game-changing score from the 1989 animated film: especially “Part of Your World” and “Kiss the Girl.” Always a showstopper, “Under the Sea” was a fun spectacle – complete with jellyfish, swimming turtles and other marine life.

The three comical characters — Nora Turner as confidante fish Flounder, Brynn Meyer silly seagull Scuttle and Safiya Austin-El as skittish sidekick Sebastian the crab – were standouts, as was Byron Jenkins as the fussy French Chef Louis in his signature number “Les Poissons.”

Nayomi Shackelford as Ursula with Kaelyn McCurtis.

Pry led an accomplished pit orchestra of 12 – Jonah Larsen, Joe Winters, Anne Stevenson, John Gerdes, Timothy R. Clark, Kris Pineda, Jeffrey Brayden Bollwinkel, Becca Bessette, Stephanie Brueggeman, Brandon Thompson, Alex Macke and Mo Carr.

(Fun fact: The movie is regarded as the property that resuscitated Disney’s reputation and ushered in the studio’s creative renaissance in the 1990s.)

The stage musical arrived in 2007, and there was a live-action remake in 2023.

With strong performances and portraying a vivid underwater fantasy world, COCA offered family-friendly escapism and provided an emotional connection with comedic and theatrical flair.

Safiya Austin-El as Sebastian led the showstopper “Under the Sea.”

COCA presented their summer musical, “The Little Mermaid,” on July 17-19 and July 24-26.

Girl Power and Positivity Triumph in Tesseract’s Heartfelt ‘Legally Blonde’

Girl Power and Positivity Triumph in Tesseract’s Heartfelt ‘Legally Blonde’

By Lynn Venhaus

‘Tis the season to emphasize “Believe,” and that’s a fitting attitude about the iconic Elle Woods, the musical “Legally Blonde,” and Tesseract Theatre Company itself.

The “Little Engine That Could” theater group, which mirrors Elle’s plucky, positive demeanor, has produced a fresh, fun, fizzy and feisty reimagining of the upbeat 2007 musical adaptation of the smash hit 2001 romantic comedy.

As the iconic Elle Woods, Grace Seidel is at her best, strong in portrayal of the bubbly California sorority girl who gets into Harvard Law School after a crushing break-up. As she discovers how smart, resilient and dedicated she is, finding her purpose, Seidel triumphs, tossing the blonde ‘bimbo’ first impression out the door.

She defies the stereotype and smoothly slips into champion mode – representing anyone who has had to fight to be seen and heard. And rocks the pink outfits, too.

Known for her powerful vocals, she strikes the right chord with her passionate delivery of Elle’s breakthrough anthem “So Much Better” and turning point “Chip on My Shoulder.” She wins over the other characters in vibrantly staged ensemble numbers, including “Positive,” the ebullient “Legally Blonde” and rousing finale “Find My Way.”

Seidel is not the only bright spot who has a renewed, refreshed take on the musical. Just as you shouldn’t underestimate Elle’s inner light to shine through, there are a few memorable debuts joining reliable veterans in the ensemble.

Marsiya Miller as Paula. Photo by Florence Flick.

In a knockout debut, Marsiya Miller is a hoot as Paula Buonufonte, the hairdresser with heart of gold. She is a skillful vocalist in her solo “Ireland,” and has sharp comic timing too, as she develops a palpable bond with Elle.

Fellow newcomer Kyle Rudolph is delightful as the UPS delivery man, also named Kyle, a definite scene-stealer with fleet footwork in the Irish step dance part of “Ireland.” His high-energy performance is noteworthy in ensemble numbers, too.

In another impressive debut, Mason Ramsey portrays the shallow, privileged Warner Huntington III, who breaks up with Elle because she’s not “Serious” enough. He has the poise of someone that’s already a stage veteran.

Newcomer Aditi Seetharaman embodies the haughty Vivienne Kensington, Warner’s new girlfriend and condescending law student who humiliates Elle — but eventually has her ‘aha’ moment.  

Seasoned pros who contribute their customary excellent work include Dawn Schmid as exercise guru Brooke Wyndham, who is accused of killing her husband; Jon Hey as the distinguished, demanding Professor Callahan; and Katie Orr hilarious as quirky activist Enid Hoopes.

Kevin Corpuz is charming as the lovable, smart Emmett Forrest, a law student who befriends Elle and sees her potential, helping her to realize it. He and Grace have worked together multiple times, most notably in the two-hander “The Last Five Years” at Tesseract in 2023. They have a noticeable ease with each other in the makeover number “Take It Like a Man” and the turning point “Chip on My Shoulder.”

The Delta Nu sorority. Photo by Florence Flick.

The Greek Chorus of Delta Nu sorority sisters is sprightly support – Natalie Sannes as energetic Serena, Lillie Self-Miller as chipper Margot, and Evan Lee as sassy Pilar, starting off with the cheery “Omigod You Guys” and being Elle’s sounding board.

Ella Drake, Martin Ibarra, Molly Stout (dance captain), Loren Goudreau, Aadi Kadam and Rudolph are supple in supporting roles that range from shop clerks, students, frat boys, scummy ex-boyfriend, presiding judge, trial witnesses, salon customers and assorted others.

Jo Palisoc’s choreography is crisp and snappy, notably the standout jump-rope number “Whipped into Shape” that is a demanding aerobics workout routine. Admirably, the dancers don’t miss a beat. Always a favorite, the “Bend and Snap” is as fun as ever.

The band is an expert group of eight musicians under the musical direction of virtuoso Larry D. Pry, who kept the music by Tony nominees Laurence O’Keefe and lyrics by Nell Benjamin tight and bright. Pry joined Becca Bessette and Brayden Bessette on keyboards, Chuck Evans on violin, Mary Jewel Wiley and Lea Gerdes on reeds, Joe Winters on percussion, Mat Coble on guitar and Jonah Larsen on bass. They were polished and peppy.

Inventively staged by director Will Bonfiglio in the cozy confines of The Marcelle Theatre, he keeps the scenes moving along, from the Hair Affair Salon to Harvard Yard, dorm rooms and shops, using different nooks that scenic designer Brittanie Gunn has crafted in imaginative ways.

He has adroitly mixed humor with a courtroom drama and boosted the girl power. He focused on bringing out the heart and humanity, spotlighting a community coming together and people finding out where they belong.

Kevin Corpuz, center, as Emmett. Photo by Florence Flick.

If you look beyond the fluff, which is why both the movie and musical endure, the show is thematically strong by exposing prejudice, harassment and discrimination. The Tony-nominated book by Heather Hach is an adaptation of Amanda Brown’s 2001 novel, which was based on her experience at Stanford Law School.

When Elle saves the day using her sparkle and coming up with her unconventional legal strategies, it’s a satisfying victory that feels earned. I mean, look at this logic: “Exercise gives you endorphins. Endorphins make you happy. Happy people just don’t shoot their husbands, they just don’t.” — Elle

Carly Uding’s costume design, along with Sarah Gene Dowling’s wig design, created appropriate looks for every character. Morgan Brennan’s lighting design and Jacob Baxley’s sound design suited the show, with Kevin Sallwasser technical director, Sarah Baucom production manager and Lexi Sims stage manager keeping elements on task. Sims was aided by assistant stage managers Jae North and Josh Neighbors.

This production radiates warmth, good humor and empowerment. If you need a cup of kindness this holiday season, Tesseract’s “Legally Blonde: The Musical” overflows with cheer and optimism.

The Tesseract Theatre Company presents “Legally Blonde: The Musical” Dec. 5 – 21 at the Marcelle Theatre, 3310 Samuel Shepard Dr, St. Louis, Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m. For tickets or more information, visit www.TesseractTheatreco.org