Anna Burnside reviews the satirical fringe hit that stumbles in its full-length version.
Disney villains don’t get more badass than Ursula, the rage-filled octopus in The Little Mermaid. This 2022 Fringe hit puts the spiky-haired cephalopod centre stage by telling her origin story and reclaiming the character’s origins - Disney’s Ursula was inspired by John Walter’s drag creation Divine.
Now an hour of endearingly shambolic Underbelly comedy has been repurposed for bigger venues and a more commercial tour. Under the unforgiving lights of the Pavilion, its weaknesses are exposed.
Stretched to two hours, the audience has time to wonder whether they are at a drag brunch or adult panto. What is charming and funny in a Fringe show can feel tawdry on a bigger stage, whether it’s flimsy costumes or gags about squirting and trauma-inspired undercuts.
Then there’s Shawna Hamic as Ursula. She looks great in her Sam Smith-style shiny octopus gown - party in the low-cut top floor, serious sea creature in the basement. She has the pipes for the big musical numbers and the timing to deliver the zingers. But they fail to add up to the warm heart this production badly needs.
Drag Race star River Medway as Ariel feels like stunt casting. She lacks the charisma to carry off a song called Where the Dicks Are, which lasts for around two weeks.
This leaves the rest of the cast with a lot of heavy lifting to do. Thankfully, they rise to the challenge. Allie Dart, the standout performer, deserves a medal for switching costumes and accents, singing, dancing and smiling like she means it.
Thomas Lowe, as love interest Triton, performs a convincing rock ballad and wears a green unitard and fish tail to great effect.
There are flashes of the smart, clever show this could be. We Didn’t Make It to Disney, a musical number performed by the misfit fish that failed to meet the Mouse’s standards, is excellent.
Ursula has some good lines, and her finale number, I’m That Witch, is strong. But it rarely rises above a jolly cabaret night at Delmonica’s. Glasgow’s own Johnny McKnight does this kind of genderfluid backchat with an underlying message so much better. Anyone who has seen one of his pantos would leave the Pavilion wondering: ‘Is that it?’
Unfortunate performs at the Glasgow Pavilion until May 4, 2024. It then continues its UK tour.
Photo by Pamela Raith
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