Written by Harry Michaels and Alan McHugh

With Additional Material from Elaine C Smith and Johnny Mac

Directed by Kathryn Rooney

Review by Dominic Corr

The King’s Theatre

Life is always better with bubbles; this splash of spectacle, the King’s Theatre’s Little Mermaid pantomime, is a riot of colour, comedy, and villainy, with dazzling effects and a few choice gags along the way. Glasgow’s King’s Theatre has long been the beating heart of pantomime tradition in Scotland, and this year’s plunge beneath the waves with The Little Mermaid proves no exception. With that Crossroads grandeur we’ve come to expect, and the local flair we oh so adore, this isn’t just a panto for the gallus few, but for the whole country.

From the moment the curtain rises, the auditorium is awash with glittering costumes, glowing bubbles, and a kaleidoscope of sea‑creature hues. The set design is nothing short of jaw‑dropping: Ariel swims through the ocean with fluid grace, while Johnny Mac takes a spin on a seahorse, to the delight of the younger audience. Jane McMurtrie’s choreography is tight and exuberant, ensuring that every ensemble number feels like a celebration, even when the narrative itself occasionally takes a backseat to the antics.

At the centre of the show’s success lies the brilliant chemistry between Mac, Elaine C Smith, and Darren Brownlie. Their sketches, whether riffing on chocolate bars, reinventing the “12 Days of Christmas” routine with ocean‑themed absurdity, or racing through tongue‑twisting musical lyrics, are executed with precision and glee. Mac, in particular, shines in his improvisational exchanges with children brought onstage, a moment of pure panto magic that never fails to win hearts. As Queen Mary, Smith continues to command the stage with her trademark wit and warmth, anchoring the production with a Glaswegian heart. Scotland’s most formidable Pantomime dame, holding the torch for the often male-dominated role. Yet, for all the trio’s brilliance, Brownlie is underserved by the script: a change from the previous years. His Dishy Fishy character bursts with potential, but he’s too often relegated to the sidelines. When he does step forward, his comic timing and physicality are impeccable, leaving one wishing for more stage time to balance the dynamic.

Musically, the production is buoyant but not flawless. The orchestra, under Neil MacDonald’s direction, keeps pace with the chaos on stage, delivering lush accompaniments that elevate the spectacle. However, the singing varies in strength. Some numbers soar, particularly ensemble pieces where choreography and visuals mask vocal limitations, but solo performances occasionally falter. Jasmine Jules Andrews’ Ariel provides ballads that are heartfelt, while some lack the vocal punch to fully carry the emotional weight, and certain harmonies drift rather than dazzle. It’s a minor blemish in an otherwise sparkling evening, but noticeable enough to temper the magic.

In a story where good ultimately wins, villainy commands. Returning to the King’s pantomime, Hannah Jarrett‑Scott’s Sea Witch is a revelation. With a voice that cuts through the auditorium and a presence that dominates every scene, Jarrett‑Scott cements themselves as a bona fide panto superstar and welcome addition once more. Their villainous authority is deliciously theatrical—equal parts menace and charisma—and though the script doesn’t always allow them the same comedic interplay as the central trio, their sheer force of performance ensures the audience is spellbound whenever they appear. In a genre where the baddie often defines the show’s energy, Jarrett‑Scott delivers down in the depths.

What makes this Little Mermaid lift is its balance of tradition and innovation. The production retains the classic panto magic—audience participation, slapstick routines, and festive silliness—while layering in modern technical wizardry. Special effects conjure underwater worlds and dazzling transformations, ensuring that children and adults alike are swept up in the enchantment. The narrative, though occasionally bogged down in exposition early on, soon loosens into the familiar rhythm of chaos and comedy, proving that even a lesser‑told tale can thrive when given the King’s Theatre treatment.

At just over two hours, the show never loses pace, buoyed by its vibrant visuals and relentless humour. Making a joyous splash, The King’s Theatre’s Little Mermaid is a technicolour triumph of pantomime tradition—funny, magical, and villainously commanding – it continues Glasgow’s reputation as the home of panto.

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