2026 is shaping up to be the year of The Little Mermaid on the London theatre scene. With Unfortunate: The Untold Story of Ursula the Sea Witch currently playing at The Other Palace and now brand-new musical Sea Witch having its world premiere at Theatre Royal Drury Lane, audiences are clearly hungry for stories from beneath the water.
But while Sea Witch boasts powerhouse vocals, inventive choreography and real ambition, its storytelling struggles to stay afloat.
Sea Witch is a prequel to The Little Mermaid, based on the novel by Sarah Henning.
It follows Evie (Natalie Paris), a young witch surviving in a world where magic is outlawed. She is raised by her aunt, Tante Hansa (Michelle Visage), who has watched over her since her mother’s death.
Evie owes her life to her best friend Nik (Djavan Van De Fliert), newly crowned King, who once saved her from drowning but was unable to rescue her friend Anna (a loss she has carried ever since). Nik himself is the sole survivor of a shipwreck, rescued by a mermaid named Annemette (Amy Di Bartolomeo), who now resurfaces with three days to find true love before… something (it remains frustratingly unclear what) happens and she is banished to the underwater world forever.
It all feels strikingly similar to The Little Mermaid, which initially made me wonder if this was intended to be the above-water perspective of events unfolding simultaneously beneath the sea (much like how Wicked reframes The Wizard of Oz from a different point of view).
That might have been a clearer, stronger concept. Instead, Sea Witch feels confused about what story it is trying to tell. The plot is thin, characters feel underdeveloped and at nearly three hours long, it could certainly benefit from tightening.
Interestingly, some reviews of Henning’s original novel described it as “a rather confusing story with cookie cutter characters and a plot I could barely follow.” Knowing that, it’s surprising more hasn’t been done to address those issues in the stage adaptation.
Before the show began, Michelle Visage addressed the audience with a disclaimer that the company had only had five days to rehearse and asked us to embrace the unpredictability of live theatre if anything went wrong.
With West End ticket prices what they are, it’s not the most reassuring way to begin an evening. Thankfully, nothing did go wrong but it left an unnecessary sour note at the start.
Visage does solid work with the relatively small role of Tante Hansa. Djavan Van De Fliert makes for a sincere and likeable Nik, bringing strong vocals and presence to the role.
Natalie Paris, an original cast member of Six, is phenomenal as Evie. She appears to sing almost constantly, knocking every number out of the park. However, the sheer volume of solo songs (it genuinely feels like dozens) begins to feel excessive. Less could have been more.
Mazz Murray steals the show as Queen Charlotte. Her Act Two solo brings parts of the audience to their feet in a spontaneous standing ovation, delivering a vocal masterclass that proves she is in extraordinary form.
Amy Di Bartolomeo, fresh from The Devil Wears Prada, soars as Annemette. Her Act Two solo is essentially this show’s answer to “No Good Deed” and reaches powerhouse notes that would challenge even Elphaba.
Recent Moulin Rouge! star Natalie Kassanga is excellent as Malvina, though the character itself feels underwritten. Similarly, Jay McGuiness, Strictly winner and member of The Wanted, brings charm as Iker but the role adds to the already crowded and confusing plot.
Among the ensemble, Robin Simões da Silva stands out with some truly “wow” vocal moments.
Directed and co-created by Kristopher Russell, with a book by Michael David Glover and music and lyrics by Segun Fawole, Sea Witch is clearly crafted by people who love modern musical theatre.
At times, however, that love tips into imitation. Certain lyrical turns, staging choices and dramatic beats feel heavily inspired by Wicked (occasionally to the point where it borders on parody).
Musically, the score draws clear influence from The Greatest Showman, Dear Evan Hansen and Six, with strong pop and Eurovision undertones. The songs themselves are often excellent – soaring, emotionally charged and vocally demanding but there are simply too many of them. The Act Two opener, in particular, feels unnecessary.
Russell has boldly claimed the show is “creating a new blueprint for musical theatre.” There is certainly ambition and flashes of innovation here. With substantial rewrites, cuts and clearer storytelling, Sea Witch could genuinely raise the bar.
The choreography by Dean Lee is nothing short of electrifying. The movement language is inventive, athletic and utterly committed – like watching a world-class dance troupe at full throttle. The contrast between above-water and underwater sequences is particularly effective.
Lighting designer Joshie Harriette keeps things relatively simple but highly effective, with striking spotlight work that occasionally transforms the stage into something resembling a concert light show.
There is undeniable talent on stage. The vocals are extraordinary. The choreography is thrilling. The ambition is admirable and if there were a cast recording it would probably be five stars.
But the story is thin and confusing and at nearly three hours long, the show would benefit enormously from simplification and sharper focus.
With serious development, Sea Witch could evolve into something truly special. In its current form, however, it dazzles the senses while leaving the narrative adrift.
★★★
West End Wilma
Reviewed at the performance on 1 March 2026, 7.30pm
Photos by Danny Kaan
