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Review: Unfortunate – The Glasgow Pavilion

Dominic Corr

May 1

Book and Lyrics Robyn Grant and Daniel Foxx

Music by Tim Gilvin

Directed by Robyn Grant

Tickets: £17.00

Rating: 5 out of 5.

Do you hear it?

Not those harsh, horrific tones from Scuttle the Seagull. Nor the circling Disney lawyers scratching their heads in frustration. No, it's a filthy, bold, and queer-as-hell siren call echoing out of the Glasgow Pavilion and inking the city in a rich shade of purple magic.

Stirring from the depths of an Edinburgh University Lecture space, then swimming with the big fish at the Underbelly last year, Unfortunate finds itself at the top of the food chain with a UK tour as Ursula the sea witch (the real star of Disney's 1989 The Little Mermaid) offers a fresh account of the tale oh so many are familiar with, but are oh so misinformed. Now at the Glasgow Pavilion, Robyn Grant, Daniel Foxx, and Tim Gilvin's subtle-as-a-hammer drag musical is bigger, bolder, nastier, and queerer than ever. And the audience is all for it.

Until now, we've all been fed a bunch of fairytale guff with what really happened with Ariel, The Little Mermaid, here played with suitable dim-witted charm by Drag-star River Medway. Unfortunate is both an origin tale for Ursula, as well as the true(?) account of the villains' antics during the film – how all they wanted was to reclaim what was rightfully theirs and aid a poor unfortunate soul from straying into a path of gaslighting and empty-headed princes. Now, a cautionary warning to the tale. Where flittering mermaids and bright colours may well be the production's origins, Unfortunate is nothing short of filth and depravity – spending far too long in the depths of Ursula's watery lair.

Stepping into those tentacles, Orange in the New Black star Shawna Hamic embodies the magnificent voice performance Pat Carroll gave the original animated character, and with Grant's direction, even captures the forceful diva movements animator Ruben A. Aquino gave the sea witch (taking inspiration from Drag-Queen icon Divine). Fittingly performed at the Pavilion, there's an unquestionable familiarity for Panto crowds in the fourth wall-breaks and jabs Hamic throws out into a starving crowd. The humour is tight, over-the-top, and exceptionally crude but somehow still pulled off with this talented cast. From Thomas Lowe's somehow loveable but block-headed King Triton (with clear and powerful vocals) to Jamie Mawson's sardonic Grimsby and fantastically gaudy and lustful spin as Ursula's alter-ego Vanessa, Unfortunate won't be for all audiences – though for those who do appreciate it - they'll adore it.

Grant and Foxx do a terrific job squeezing as many jokes and references as they can into some numbers: though the pacing of Gilvin's music can occasionally collide the lyrics into one another. Unfortunate is at its best when belting or pastiching the musical-theatre styles Dinsey is known for. With some gorgeous vocals to match their killer wit and stage presence, Hamic performance of 'Female Role Models' is a huge highlight. And though elements of rap in the titular number (and others) are well-versed, they can occasionally be a touch too spoken for some performers, though Jamie Mawson does a spiffing job as Eric. Allie Dart and Julien Capolei are more than capable of capturing the speed of the lyrics and Melody Sinclair's tight choreography as Ursula's "poopsies" Flotsam & Jetsam.

Swimming alongside the production's growth, Dart has been a constant presence throughout Unfortunate's life span in several ensemble roles - principally that of Sebastian the Crab. Dart's inclusion has always been one of the highest quality; their delivery (vocally and performative) is always spot-on in the comedic timing and bouncing around on Abby Clarke's newly constructed set design, somewhere between ship-wreck and undersea cove. It's all framed in Adam King's oceanic lighting, which spares just enough time to add some colourful moments of drama and pride. Dipping from outright parody into tasteful pastiche, Unfortunate has far more of a clever streak than the gags and 'erect' statues may suggest. Clarke's puppet design enables one of the show's other stand-out numbers 'We Didn't Make It to Disney' to lampoon the Mouse's under-repetition in character, while Dart leads a terrifically scaled-up version of 'Ask the Girl'.

And beneath the sex puns, shots, and explosive puppetry – there's a soft, quivering underbelly on perspectives of repression, consent, female role models, and, of course, in true Disney fashion, the pursuit of true love and happiness – whatever (or whoever) it may be with. There is one thing Unfortunate does better than many in transitioning to a larger-scale production: capitalise on it. And mercifully, it's chiefly in the second act, the ending having a revision. Originally (and oddly) for such a queer and celebratory musical, Unfortunate always had a very hetero-normative ending. Not anymore. Its wrap-up continues Grant, Foxx, and Gilvin's trend of additional elements to the show that helps strengthen its once too-quick pacing, adding in songs, scenes, flashbacks, and revisions to improve elements of both script and character.

The adoration for the original film, and musical theatre, is dripping from the production's suckers and continues to feel fresh with revised jokes, songs, and new cast members. This is more than wicked, Unfortunate is scintillatingly nasty, unashamedly queer, contemporary, and utterly filthy. Audiences may be 'Under the Sea', but they're going to need a cold shower after this one.

Scintillatingly Nasty

Unfortunate runs at The Glasgow Pavilion until May 4th.
Running time - Two hours and ten minutes with one interval. Suitable for ages 16+
Photo credit - Pamela Raith

Review by Dominic Corr

Editor for Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The Skinny, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic's Award for Theatre Scotland (CATS) and a member of the UK Film Critics.

contact@corrblimey.uk