Episode Summary: Mickey-Jo saw BOTH of the Little Mermaid prequel musicals | REVIEWS of UNFORTUNATE ★★★★ and SEA WITCH ★★

Podcast: MickeyJoTheatre
Host: MickeyJoTheatre
Date: March 4, 2026

Overview

In this episode, Mickey-Jo reviews two ambitious new musicals that each reimagine the backstory of the Sea Witch from The Little Mermaid:

• Unfortunate: The Untold Story of Ursula the Sea Witch at The Other Palace
• Sea Witch in concert at Theatre Royal Drury Lane

Both aim to expand upon a classic villainess’s origins in the wake of musicals like Wicked, yet they differ radically in tone, scale, and effectiveness. Mickey-Jo draws vivid comparisons, praises what works, and offers candid critiques of what doesn’t, all through his trademark blend of humor, insight, and theatrical flair.

Key Discussion Points & Insights

1. Setting the Stage: Two Sea Witches, Two Very Different Shows

• After years in development and multiple iterations, the West End now hosts two Little Mermaid prequel musicals.
• The productions are polar opposites—one a grand scale concert staging (Sea Witch) and one a sharp, comedic parody with indie roots (Unfortunate).

"Utterly different shows with completely different material and honestly, variable levels of success." (03:08)

2. Unfortunate: The Untold Story of Ursula the Sea Witch

[Review Segment 01:27-25:50]

• Origins and Evolution

• Mickey-Jo first saw Unfortunate years ago at the Edinburgh Fringe—then a one-act, now a fully-fledged two-act production.
• Written by Robin Grant (book/lyrics, original Ursula) and Daniel Fox (book/lyrics), with music by Tim Gilvin.
• The show has been "heavily rewritten every single time," particularly its opening.

• Tone, Comedy, and Parody

• Expands directly upon the Disney version of Ursula.
• Relentlessly lampoons Disney tropes, characters, and broader issues of representation:
  • Notable number: "We Didn't Make it to Disney"—sung by "less attractive aquatic characters," satirical lyrics:

    "I'm fat but I'm not funny, I have a regional accent but I'm not poor, and we can't be screened in China because we're gay." (07:28)

• Embraces a raucously adult, NSFW humor aimed at "Disney adults ready for some twisted comedy."

• Structure & Inspiration

• Follows the Wicked template: misunderstood, marginalized villain gets their side of the story told.
• Also draws from Starkid’s Twisted (Aladdin/Jafar parody) and Hillary Clinton “nasty woman” rhetoric (now largely toned down).
• Key moment: Ursula’s surprise entrance after her on-screen demise, mirroring Elphaba’s "not dead" reveal in Wicked.
• Strongest moments blend Disney parody with queer pop—Act 1 finale "Unfortunate" likened to a Eurovision banger from Atlantica.

• Standout Gags & Characters

• Ariel recast as a vapid Love Island contestant in a biting pastiche of "Part of Your World":

  "Where the boys with dicks are." (10:47)
  Mickey-Jo: "That is a spoiler I have been refusing to divulge online for years now, but it's so good, I had to talk about it." (10:51)

• Ensemble double- and triple-cast in roles: Ali Dart as both Colette (from Ratatouille) and Sebastian, James Spence as Prince Eric, Ursula's eels, and King Triton’s father (scene-stealing physical comedy).
• The show’s deliberately ridiculous swimming/merman effects and tongue-in-cheek staging keep the “Fringe” spirit alive even as it scales up.

• Casting, Performance, and Direction

• Sam Buttery shines as Ursula—commanding, complex, and swapping seamlessly between fierce vocals and audience banter. Mickey-Jo notes the difficulty of playing every facet of this "sex positive, body positive, feminist icon, outspoken and proud, but also insecure and resentful."
• Julie Yamini (Ariel) and Blair Robertson (Triton) praised for finding the show's unique tone.

• Critique and Praise

• Some opening moments remain unwieldy; the show is “almost laugh-a-minute” but could be even snappier.
• The material, especially in song, sometimes trips up due to fiendishly fast lyrics.
• Overall, Unfortunate delivers on its promise: a wild, boundary-pushing musical for adult Disney fans.

"If you're looking for a naughty musical laugh...do not take children to this show. It is definitely adults, or if you are a Disney adult like myself, who might enjoy the very warped sense of nostalgia that it affords you." (24:27)

3. Sea Witch: A World Premiere with High Ambition, Low Payoff

[Review Segment 25:50-35:50]

• Scope and Spectacle

• Premiered as a fully staged concert at Theatre Royal Drury Lane—massive venue, elaborate production values, celebrated cast:
  • Natalie Paris as “Evie” the Sea Witch
  • Amy Di Bartolomeo, Mazz Murray, Michelle Visage, and others.
• “Ambition is not insignificant”—plenty of “intense full choreography”, impactful lighting (perhaps too impactful, as audience was at one point “blinded”).

• Source Material and Approach

• Based on the YA novel Sea Witch by Sarah Henning.
• Creatives: Michael David Glover (book), Christopher Russell (director), Shegun Fawole (music/lyrics).
• Despite the scale and effort, Mickey-Jo notes the show lacks a core reason to exist as a stage musical and fails to forge its own identity.

"Nothing about this story really justifies becoming a stage musical in the first place." (33:36)

• Narrative, Themes, and Problematic Feminism

• Story centers on Evie (Natalie Paris), marginalized since a tragic childhood accident, unrequited love for the prince (yes, another generic fairy tale prince). Strong shades of Cinderella and previous Lloyd Webber fare.
• Magic and “witchiness” are largely aesthetic; mermaids appear only via flashback, and little narrative is advanced through dialogue.
• Songs are “epic and grand” but often derivative: echoes of “You Will Be Found” (Dear Evan Hansen) and The Greatest Showman abound.
• Mickey-Jo points out excessive, unearned power ballads and songs that repeat the same emotional idea without storytelling advance.
• Adopted “Wicked” feminist rivalry/friends-to-enemies model, but with less nuance, no sense of sisterhood or honest perspective.

• Performance vs. Material

• Cast’s vocal powerhouse is undeniable—Mazz Murray received a mid-show standing ovation.
• Technical flair (choreography, lighting) evoked a pop concert more than musical theatre.
• Unfortunately, the show’s seriousness led to unintended laughter and “car crash” moments ("or I guess shipwreck quality in this context" (35:42)).

• The Big Problem: Core Concept and Adaptation

• Mickey-Jo’s main critique: the creative ambition is clear, but Sea Witch struggles to justify its existence as a Little Mermaid prequel—comparing it less to Ursula and more to Cinderella in a new dress.
• “Very little sea and very little witch”—concept feels derivative and undercooked.

“I truly don’t know if this musical is salvageable, simply because I don’t know if it was a strong and genuine enough concept for a musical in the first place.” (36:13)

• Final Thoughts on Sea Witch

• Commends the talent of the cast and creative ambition.
• Recommends the writers focus next on contemporary, relatable stories rather than epic fantasy lacking emotional or narrative grounding.

4. Comparative Takeaways

• Unfortunate is a hit for those seeking rude, subversive, self-aware fun—a true ‘Disney for grown-ups’ parody.
• Sea Witch boasts spectacle and talent, but lacks a compelling core and feels unfocused in both theme and style.
• Both are part of a post-Wicked wave, but only one truly finds its sea legs.

Notable Quotes & Memorable Moments

• “If it weren’t for Wicked, neither of these would exist. Otherwise…utterly different shows with completely different material and honestly, variable levels of success.” (03:09)
• Referring to Unfortunate’s opening: “She just comes out immediately and goes ‘I bet you didn’t think you’d be seeing me.’ And she’s on the poster. We in fact only expected to be seeing her.” (09:12)
• On Sea Witch’s story: “You have never encountered a place outside of Massachusetts that hates witches with such a passion.” (32:00)
• “There was was intense full choreography, there was costuming…Oh, the lighting. You’ve never seen so much lighting in your life. Until…all those lights were pointed simultaneously toward the audience, proverbially blinding us all so we couldn’t actually see anything ever again.” (27:22)

Timestamps for Key Segments

| Timestamp | Segment/Topic | |-----------|-----------------------------------------------------------------------| | 01:27 | Introduction: Two Sea Witch Musicals | | 03:09 | Tonal and Scale Differences / Influence of Wicked | | 04:36 | Unfortunate: Show’s Origins, Structure, & Disney Parody | | 07:18 | “We Didn’t Make it to Disney”—Iconic Satirical Number | | 10:47 | Parody of "Part of Your World"/Ariel’s Spoiler Punchline | | 16:00 | Physical Comedy, Set Design, and Direction in Unfortunate | | 18:28 | Analysis of Principal Cast Performances (Sam Buttery et al.) | | 23:25 | Final Thoughts and Recommendations on Unfortunate | | 25:50 | Sea Witch: Introduction and Staging Ambition | | 27:22 | Overwrought Lighting, Production Scale at Drury Lane | | 29:37 | Narrative Issues, Lack of Feminist Perspective in Sea Witch | | 36:13 | Whether Sea Witch is “Salvageable” | | 37:43 | Closing Remarks |

Overall Tone & Listener Takeaway

Mickey-Jo’s reviews blend playful irreverence, deep theatrical knowledge, and candid critique.
Unfortunate is “raucous, riotous, and definitely not for kids” — highly recommended for adults wanting subversive laughs and a refreshing Disney-skewering romp.
Sea Witch is “all ambition, little magic”—a cautionary tale of how spectacle and strong casting cannot salvage muddled, unoriginal material lacking a central heart.

To sum up:

• Unfortunate gets ★★★★ (a must-see for cheeky Disney fans),
• Sea Witch manages ★★ (impressive voices, but lost at sea).

Stay stagey!