I have been to Tuacahn many times, but there’s a special kind of energy in the air when Disney’s The Little Mermaid is on—an unmistakable wave of Disney magic that the audience brings with them. You’ll see themed Mickey ears, children in costumes and Disney-Bounders! Even before the show begins, there’s a buzz at the concessions and gift shop, as families and fans arrive, knowing they are going to see a brilliant production and are ready to be enchanted.
Disney’s The Little Mermaid is a spellbinding stage adaptation of the beloved 1989 animated movie, following Ariel (Kelsey Lee Smith), a curious and adventurous mermaid who dreams of life beyond the sea with a handsome prince who would rather be a sailor (James Everts). Alongside her loyal friends—Flounder (Hudson Sullivan), the timid fish; Sebastian (Eric B. Anthony), the uptight but lovable crab; and Scuttle (Davey Burton Midkiff), the eccentric seagull—Ariel navigates the wonders and challenges of two worlds. She faces the powerful sea witch Ursula (Julie Cardia), who will stop at nothing to take control of the ocean. With help from her protective father, King Triton (Fred Inkley), and a cast of colorful undersea creatures, Ariel’s story unfolds through unforgettable songs, dazzling choreography, and heartfelt moments that celebrate love, bravery, and finding the place you belong. Even if you are familiar with the classic movie, you are in for some fin-tastic surprises with this show! Kelsey Lee Smith, with her soaring soprano vocals, is every bit a Disney princess—unsurprising, given her long list of princess roles. Young Hudson Sullivan is a perfect fit for Ariel’s sidekick, Flounder. James Everts as Prince Eric is charming and authentic and is a strong vocal match with Smith.
Tuacahn has a signature way of weaving its own brand of enchantment into every production, and The Little Mermaid is no exception. Where else can you watch a stage not only flood with water but shimmer with cascading curtains of it, transforming the desert into a dazzling undersea world? Thanks to the visionary direction of Scott S. Anderson, breathtaking scenic and lighting design by Paul Black, and the immersive projections crafted by Brad Peterson, the show feels as fluid and magical as the ocean itself. With Shari Jordan’s artistic insight, Tech Director Troy McGee, and Jeff Miller’s production leadership, every element—from the splash of real water to the glow of Triton’s kingdom—works in harmony to create a theatrical experience that’s both technically stunning and utterly spellbinding.
The choreography in The Little Mermaid, masterfully crafted by Mara Newbery Greer with associate choreographer Caitlin Belcik, takes full advantage of every inch of the Tuacahn stage—including the space above it. With aerial sequences choreographed by Paul Rubin and executed with the expertise of Flying by Foy, the movement isn’t just dancing—it’s soaring, gliding, and swimming through air. Having just seen The Wizard of Oz, which featured some impressive mid-air surprises of its own, I thought I knew what to expect. I was wrong. The Little Mermaid feels completely fresh and imaginative, using rigging in ways that transform flight into fluid, underwater motion. I won’t give anything away—you truly have to see it to believe it. And beyond the magic of the choreography, let’s not overlook the physical demands on the cast. These performers are true athletes, executing stunts and aerial work that require serious strength and stamina. Specifically, Ariel (Kelsey Lee Smith) and Scuttle (Davey Burton Midkiff) spend a lot of time swimming and flying, respectively. And the demands don’t end there! For example, Sebastian’s frantic claws were often waving in the air as Eric B. Anthony traversed the stage, expertly delivering the anxious lines and lively vocals of the beleaguered crab. I’d love to interview the cast just to hear about the training involved, because this cast doesn’t just perform; they power through an ocean of movement with grace.
Costume designer Robin L. McGee, hair and makeup designer Jeff Knaggs, and puppet designer Scott Molampy no doubt worked in close collaboration to bring these fantastical sea creatures to life—most notably the tentacled Ursula. Julie Cardia, as Ursula, is a commanding and theatrical force—a villain who oozes charisma, cunning, and wicked delight. Her costume and movements blend glamour with menace, wrapping her dark ambitions in a velvet voice and razor-sharp wit. Every move she makes is calculated and dramatic, from the slither of her tentacles to the curl of her sinister grin. Ursula’s henchmen (hench-eels?), Flotsam (Alec Talbot) and Jetsam (usually played by Stephen Diaz, but I caught Scott Whipple’s performance), move together with eerie, hypnotic synchronicity. And one more shoutout to the mersisters (Mallorie Mendoza, Jillian Butler, Delaney Gold, Abby Linderman, Hannah Hubbard, and Bella Depaola)! They do an outstanding job giving Ariel’s sisters different personalities and idiosyncrasies, along with having gorgeous voices and graceful dancing and gliding. And what would this story be without the two father figures of King Triton (Fred Inkley) and Grimsby (usually played by Randall Keith, though I saw Stephan Diaz)? Both men portray stern but caring father figures, doing their best to guide the next generation.
Although every scene offers moments that will take your breath away, I simply have to highlight the gut-busting performance of Nick Berninger as Chef Louis. Berninger masterfully embodies the flamboyant French chef, preparing seafood with over-the-top enthusiasm—much to Sebastian’s horror. The scene, set to the song “Les Poissons,” becomes a slapstick spectacle of clanging pans, flying ingredients, and rapid-fire physical comedy. It actually took me a moment to figure out how those fluorescent fish parts were flying into so many pots and pans! If you keep your eyes peeled, you just might spot the clever trick behind the chaos.
Another element that sets Tuacahn productions apart is the presence of a live pit orchestra, flawlessly directed by Christopher Babbage. The music is rich, immersive, and perfectly balanced with sound cues expertly timed under the design of Josh Liebert. The Little Mermaid is a production full of moving parts—literally—with a large cast, massive set pieces, intricate rigging, and performers constantly gliding, swimming, and flying through scenes. Add to that seamless projections and live music, and it becomes clear: this is theatrical orchestration at its finest. Every element moves in harmony, creating a living, breathing work of art. Tuacahn embraces the challenge and exceeds expectations, thanks to the tremendous behind-the-scenes efforts of production stage manager A.J. Sullivan, stage managers Holley Housewright and Jeff Norman, and assistant stage manager Chloe Grotheer.
Coming to just one show will make you a fan. I suppose this is why Tuacahn is celebrating 30 years of stories! You will see the obvious talent and hard work of the cast and crew. But coming to more than one show will allow you to see a greater depth of the talents involved. It is genuinely awe-inspiring to see how this group of people bands together to put on these productions, rotating between shows and taking on vastly different characters from night to night. And they make it look so natural and easy. You simply must see both The Wizard of Oz and The Little Mermaid! Don’t miss Disney’s Newsies when it opens in July!
Tuacahn Amphitheatre presents Disney’s The Little Mermaid, music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, book by Doug Wright, based on the Hans Christian Andersen story and the Disney Film produced by Howard Ashman and John Musker and written and directed by John Musker and Ron Clements
Tuacahn Amphitheater, 1100 Tuacahn Drive, Ivins, Utah 84738
June – October 25, 2025, Performance dates and times vary
Tickets: $44-$124
Contact: 800-746-9882
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