The Little Mermaid

Nottingham Playhouse’s The Little Mermaid, a gentle and imaginative production aimed at ages 3–8, takes place in the small and intimate Neville Studio. It’s a charming show, filled with playful songs and anchored by two wonderful performers who instantly win over the young audience at this morning’s 10:15am performance.

Although the show starts slightly later than advertised, the theatre staff handle the delay with impressive care. A school group had been held up, and rather than begin without them, the team chooses to wait—an undeniably brave decision, but one made with the children’s experience firmly in mind. Their willingness to prioritise the excitement of the young theatre-goers is genuinely commendable.

The story transports us beneath the waves to the underwater kingdom of Tritan (Ollie West) and his curious daughter Marina (Hannah Breedon). Life underwater is full of colour and fun, yet Marina longs for more—she dreams of seeing the shining sun and feeling soft sand beneath her toes. When an opportunity arises, thanks to the sly sea-witch Tamara (also played by West), Marina is granted her longed-for land-legs, but at the cost of her voice.

Rather than following the traditional romantic route, this adaptation gives Marina a different quest: she must search for a diamond. Along the way, she meets a new friend, Alex Prince (again played by West—an emerging pattern that becomes part of the show’s charm). By the end of the play, Marina is faced with an important decision: should she return to her ocean home, or stay on land?

Breedon is utterly delightful as Marina. Beginning the performance seated on the floor with the children instantly brings the young audience into her world, helping them feel comfortable, included, and eager to take part. And participate they do—through call-and-response moments, dancing, and the enthusiastic cries of “It’s behind you!” in a wonderfully pantomime-esque fashion. Breedon beautifully captures Marina’s inner conflict, but it is her sense of wonder that truly shines, especially as she dreams of no longer being “glued” to the ocean floor. Her singing voice is perfectly suited to a fairytale princess—gentle, clear, and full of warmth. Once Marina loses her voice, Breedon’s expressive physicality takes over, conveying every emotion with charm and clarity.

West is an absolute trooper in this production. He seamlessly transforms between King Tritan, Alex Prince, and the mischievous sea-witch Tamara, bringing each character to life with distinct energy and humour. West transitions between roles with ease, and he is a joy to watch. On top of this, he operates Sully, Marina’s turtle companion, whose cheeky personality quickly becomes a favourite among the children. Sully’s interactions add lovely moments of comedy, and the young audience responds to him with visible delight.

Under Alessandra Davison’s direction, both actors engage brilliantly with the children, tailoring each performance to suit their young audience. The villain, for example, is portrayed as more humorous than frightening—exactly the right choice for little ones who certainly don’t need nightmares. The humour throughout the show leans into delightful silliness, and the youngsters revel in the fart and bogey jokes, as well as the elongated “Siiiix, Seveeen” gag, which prompts playful groans from the teachers in attendance. There are also a few wittier lines sprinkled in for the adults. The Mission Impossible–style laser-beam scene adds another enjoyable nod for the grown-ups, offering a nostalgic wink while keeping the children thoroughly entertained.

The songs by Joe Venable and Rob Gathercole are light, catchy, and well pitched for a young audience, adding a cheerful rhythm to the storytelling. Each musical moment helps move the plot along while giving the children something to bop along to, and the performers deliver them with warmth and enthusiasm. Marina’s songs, in particular, carry a gentle, almost lullaby-like quality that captures her curiosity and longing for the world above the waves. The more comedic numbers spark giggles throughout the theatre, blending playful lyrics with fun choreography. While the tunes may not be the kind that linger for days, they create exactly the right atmosphere for this age group: lively, engaging, and full of charm.

Emma Howson’s set is simple, practical, and effective—especially when paired with the show’s cleverly used sound effects and musical underscoring. The actors themselves take full responsibility for shifting the set pieces to create new locations, and some of these transitions are impressively swift; hats off to Breedon and West for managing each change with such apparent ease. A particularly noteworthy element is the digital screen, which serves as a visual guide for the young audience and adds an extra layer of clarity, helping children follow the story as scenes shift. I was especially pleased to see that key words and lyrics were projected onto the screen throughout, offering valuable support for children with slower processing skills and ensuring everyone could stay engaged with the unfolding plot.

At its heart, this is a story about the importance of family and friendship, and it makes for a warm and uplifting way to spend a morning or afternoon (though the auditorium was a touch chilly, so a jumper is advised). With a running time of just under an hour, the show is perfectly pitched for little theatre lovers—long enough to feel like an adventure, but short enough to keep even the youngest audience members happily engaged.

The Little Mermaid is playing at Nottingham Playhouse until Saturday 3 January 2026.

Photos credit. Michael Aiden.