As the calendar rapidly approaches June, and the summer holidays appear on the horizon, it’s time to relive one of absolute highlights of the 2025/26 school year at the International School of Lausanne – the ISL Secondary Performing Arts production of Disney’s “The Little Mermaid”. Read on to discover how ISL’s talented cast and crew gave the Broadway show a run for its money…
(Words and photos by Ms MacLeod – ISL Teacher of English 2021 – 2025; video links to the production, included at the end of the review, by Mr Capes –Technical Coordinator; special thanks to Mr Wallace - Director, Abigail – King Triton – and Thibaud – Flounder, for the interviews following the play review)
It's backstage on opening night of the International School of Lausanne’s production of “The Little Mermaid”, and I am juggling camera lenses and scuttling around – in a manner not unlike Sebastian the crustacean – trying to capture the heartwarming hubbub of young student actors being transformed by the talented hair and make-up crew into mermaids and sea creatures, sailors and royalty, when one of the sailors, Rooney, pops up in front of my lens, beaming with the same anticipation and excitement that her cast-mates are lit up with.
“Before the show starts, will you please take a photo of my art?” she asks, eagerly.
“Of course,” I say. “But let’s do it now, so I don’t forget.”
We cross the corridor to one of the classrooms used for the cast and crew to hang out in, and have their dinner before getting ready, and Rooney flings out a dramatic arm to direct my gaze at the class whiteboard; which, this being the lower ground floor of ISL’s South Building, would be more accustomed to being covered in computer code or mathematical formula; now, however, it is resplendently delighted in its “Little Mermaid” themed makeover: a colourful portrait of the titular character, Ariel, together with her charismatic crustaceous sidekick, Sebastian, smiling expansively in the foreground, with Prince Eric and his buddy, Grimsby, at the helm of their ship in the background. (An accompanying sketch of what appears to be a floppy-eared bunny to the left of the group is less recognisable as a member of Ariel’s ocean crew, but adds a cheery note, nevertheless.)
And, in big blue handwritten, Rooney has written: “Get out there and…glitter!!!”
As musical theatre – if not life – philosophy goes, what could be better than this?
It will soon become evident that the cast have taken these words entirely to heart.
First, however, it is time for the final director’s notes. The International School of Lausanne Auditorium Tech and Backstage team have finished miking up the cast, and, under the expert supervision of technical coordinator Mr Capes, are wrapping up the final soundchecks. Director Mr Wallace is on stage, surrounded by sailors and sea creatures. Despite the palpable atmosphere of nervous anticipation buzzing in the air around him, Mr Wallace radiates calm and good humour. The easy, encouraging rapport that he has with everyone around him is tangible.
At Mr Wallace’s request, the cast and crew fill up the first few rows of ISL’s purpose-built auditorium. Some particularly chatty sailors are gently hushed. Mr Capes and Mr Wallace deliver the final notes from the dress rehearsal. The cast are given their feedback, treated as respectfully as any professional actor would expect to be spoken to, and with a warmth and encouragement intended to reassure first time performers, or those taking on starring roles for the first time. The mermaid, the seagull, the blue-and-yellow stripy fish – all listen attentively. Mr Wallace and Ms Middleton demonstrate a point with some impromptu dance moves, and everyone bursts out laughing, easing the tension. Mr Wallace takes the time to ask his cast to thank the members of the staff and student volunteers who are there in the auditorium, and who are so essential to bringing the world of “The Little Mermaid vividly to life: Ms Correia (Property & Set Design, and Costume Design Support), Ms Hodari (Costume Design, Artistic Support), Freya and Quinn (Makeup). (The full list of Special Thanks is included in the show’s programme.) The applause from the cast and crew is delivered with enthusiasm and from the heart.
Everyone then scrambles into place for the group photo of the cast and crew – a few moments of orderly stillness and big smiles. And then everyone disperses. The tech crew hurry up the stairs to get in place for the opening light and sound cues. The cast regroups in a team huddle around Mr Wallace, placing one arm into the centre of the circle for a hand stack. Flounder the fish and Scuttle the seagull are still up on the prow of the stage ship, where they were for the group photo, and stretch eagerly out over the rail to join in.
A big cheer; everyone flings up their arms; and then hurries backstage. It’s showtime…
The last couple of International School of Lausanne productions directed by Mr Wallace was the darkly compelling adaptation of Emily Brontë’s literary classic, “Wuthering Heights”, and the dazzlingly imaginative dramatic rendering of J.R.R. Tolkien’s “The Hobbit”, the latter of which starred many of the young performers about to take to the stage this evening. Both were brilliant, showcasing Mr Wallace’s range and vision as a direction, the skill and inventiveness of the technical and costume design crew, and the commitment and talent of the cast.
But for me, you just can’t beat a musical! The challenge of being the photographer, of course, is not just switching between zoom lens and wide angle lens quickly enough to capture all the action, but also trying to resist the temptation to bop along in my chair, and therefore end up with a gallery of blurry photos.
The cast don’t make this easy for me.
From the moment the happy, noisy chatter of the packed-out audience fades, with the dimming of the auditorium lighting, to expectant silence, and the stage itself is illuminated, the cast inhabit their characters and the vibrant sets around them with irresistible brio.
The time and hard work of Ms Middleton, the director of singing and music, and Ms Moran, the choreographer, shines through in the wonderfully exuberant musical numbers. Solveig, as Ariel, who previously revealed her prodigious singing talent when the International School of Lausanne hosted the Battle of the Bands back in March 2025, is mesmerising, infusing the delivery of her songs with soulful emotion, while bringing an engaging comedic flair to classic moments such as the fork-as-hairbrush. Stefania, as Prince Eric, brings an endearing wide-eyed earnestness to her part, and Henry supports her well as the prince’s well-meaning confidante, Grimsby. Leonardo, whose gift for comedy was first demonstrated to ISL audiences several years back as “Narnia’s” Turkish Delight-loving Edmund, swaggers as the swashbuckling ship’s pilot, evoking laughter from the audience. Abigail, as the romantic Prince Eric’s pragmatic father, King Triton, who has personal reasons for being possessed with a deep prejudice against the magical world of under-the-sea, brings a thoughtful depth and intelligence to her three-dimensional portrayal of the flawed monarch, and Triton’s character arc over the course of the action is uplifting. Avery, as the villainous sea witch Ursula, banished to the depths of the sea by Triton for trying to usurp his crown, is outstanding, particularly in the hugely infectious musical numbers (more blurry photos from me), and brilliantly supported by her slippery sidekicks, Moray eels Flotsam and Jetsam, played with equal relish to their scheming mistress by Anne and Angela. They may be villains, but I definitely want to be in their gang.
Rooney and Kuba contribute to the comedy as trumpet fish and royal heralds, and the mersisters, played adeptly by Willow, Juliette, Jessica, Elsa, Eleonore and Chloe, bring grace and charm to their dance scenes; the audience’s favourite moment featuring these characters, however, has to be their comedic turn in the karaoke competition, with a scene-stealing cameo from Kuba that had the whole auditorium in fits of laughter.
And, when it comes to comedy, neither words nor photos can do justice to the musical numbers starring Flounder (Thibaud), Sebastian (Ada), Scuttle (Keane – who was exceptional as Golum in last year’s “The Hobbit”, and who makes the change from creepy Stoorish hobbit to effervescently loveable seagull seem effortless), and Chef Louis (Leif). You’d have to be made of steelier stuff than I am not to brush away a tear at the absolute joie-de-vivre that these talented young actors bring to numbers such as “She’s in Love”, “Under the Sea”, “Positoovity”, and “Les Poissons”, all wonderfully supported by the supporting cast, who make high speed backstage costume changes between sea creatures and sailors, gulls, maids, chefs, and princesses. Here is the joy that 2026 is in need of. The audience claps their hands raw at the end of each fabulous number.
Ultimately, when the play’s action finally draws to its happy-ever-after resolution – Ariel and Prince Eric have stayed true to themselves, and been rewarded with the lives they wanted; King Triton has repented of his overbearing ways, and been reunited with his beloved daughter; the power-hungry – if incredibly fun! – tentacled sea witch has been defeated (although with the recent success of BBC’s “The Other Bennett Sister”, perhaps we can expect a similar treatment of “The Little Mermaid” in the pipeline… “The Other Mersister”?); and friendships have been solidified – I am genuinely sad. I just didn’t want it to end.
The cast and crew tumble beaming back out onstage for the curtain call, and are applauded to the rooftop by the hugely appreciative audience. Then, they fall out of line to break into groups to congratulate each other. Ariel and Ursula embrace. A euphoric Flounder, Scuttle, and Sebastian grab each other, jumping up and down with glee. And, if you haven’t seen a stripy blue-and-yellow fish, a crustacean in a shiny red top hat, and a white-feathered seagull with a disproportionately large orange beak, take part in a joyful group hug, then all I can say is that you’ve missed out.
My heartfelt thanks and congratulations to Mr Wallace and the entire cast and crew, for this marvellously unforgettable evening. I’m already looking forward to the next one.
Watch opening night of ISL’s “The Little Mermaid” here.
Watch the second night of “The Little Mermaid” here.
Keep reading for some words from director Mr Wallace, and cast members Abigail and Thibaud, about the experience of being a part of “The Little Mermaid”. A special thank you to the three of you, and especially to Abigail, for the exceptionally detailed responses, for taking the time to share these thoughts and reflections.
Mr Wallace (Director): “The Little Mermaid” is a story that appeals to everyone: pursing a dream to escape and achieving it against all odds. Ariel represents every person who feels marginalised in our world and who might have a fire inside to escape circumstances that are out of their control. It’s also a story that is near and dear to my heart, having grown up during the Disney Renaissance era. A story also needs a good villain. The narrative of Ursula acts as a foil contrast for Ariel, almost warning us all about the limitations of bitterness and how the impetus behind seeking our life’s dreams is the magic ingredient that can lead to happiness or disillusionment. From an educational perspective, the musical is a wonderful opportunity for students to develop skills as a performer (dancing, singing, acting) but also to stretch and challenge our more seasoned thespians. It’s an inclusive, fun, dynamic production with such a great energy that also fit our developing talent here at ISL.
It is incredibly rewarding to see students take leaps forward throughout the process and begin to believe in themselves in ways they previously did not. It is a constant reminder to me of the power of theatre to transform the perception of self. Oftentimes we are all the biggest hurdles that limit our ability to step forward, take risks, and grow. When I see students embrace the ambiguity and challenge of creative performance, it truly elevates me and just resonates so strongly with why I work in the performing arts.
Because of the nature of developmental shows, it is important to continue helping students grow in a backstage capacity because they grow a ton leading up to that point but it’s also incredibly important to mentor their affirmation of each other. That is where some real light bulb moments happen for students. They are suddenly moving beyond themselves and their ‘moment’ and eagerly affirming one another to celebrate their collective success. That is where magic truly happens.
I’d just like to shout out to the community and thank them for supporting our young performers. The arts need advocates and you can’t have a show without an audience. The staff, parents, and community remain a pillar of support for us and I am grateful. I’d also like to thank the creative team for all their wonderful collaborative efforts to make this show a success.
Thibaud (Flounder): I was originally attracted to the role of Flounder, because I loved his bubbly and fun personality, and I thought he would be a fun character to play. I was excited to make new connections with others, and to watch the show come to life, although I was quite nervous about singing. This was a challenge as during the beginning of the rehearsals, I didn’t have much confidence. But by the end of the process, I had learned to belief in myself. Once I’d figured out which notes I felt most comfortable singing, and learned my lines and blocking, I could feel much more confident singing.
In the moments just before the curtain went up on opening night, I thought: “Wow, this is really happening…over five months of work have led up to this moment.” I was very stressed, but also excited and happy to be sharing this moment with others. I had to remember that it is important to be calm, and to understand that everything will be alright.
A moment that I will always remember is after the first show, when me, Ada (Sebastian), and Keane (Scuttle) jumped around and hugged each other; it was a really nice moment because nothing major had gone wrong, and we had formed a really large friendship throughout the show.
By being a part of “The Little Mermaid” production, I discovered that I could do things and push myself to new limits, which I didn’t realise before. I think that other people really helped with this, so I could develop my skills and become better. Mr Wallace and Ms Middleton were super helpful in navigating me through my singing and acting, and making sure I felt supported every step of the way. Abigail (King Triton), was also a big help to me with me singing, and she made sure I sung as well as possible. Ms Middleton often helped me calm my nerves – she was one of the people who I think believed in me the most: her help with me singing was one of the things that made the show possible, and she always made sure to do what was best for me.
If I could look back and give myself some advice at the start of the very first rehearsal, it would be to believe in myself – relax, have fun, enjoy everything that you can. Everything will turn out okay, so there is no need to stress.
Abigail (King Triton): Drama has always been a part of my life – I starred as a little kid in productions such as “The Jungle Book” and “Matilda”. “The Little Mermaid” is one of my favourite childhood films, so I’m happy we performed it. I also wanted to join my sister on stage for the first time. Once being cast, I loved how I could express my frustrations at my sister while still remaining in character! I was also really excited to sing, especially with other people.
This production updates “The Little Mermaid” by focusing more on independence and personal growth, rather than just romance. It challenges the traditional version by giving Ariel stronger agency and emphasising her choices. The story is about her finding her voice, not just romance. I now view Ariel as curious and strong-willed, and the story feels more focused on self-determination than simply falling in love.
Collaboration has been key in bringing this production to life, with everyone contributing their strengths to create a unified show. For example, the cast and crew worked together on the underwater dance scenes – actors, choreographers, and set designers coordinated timing, movements, and props, so that the performance felt smooth and magical. I’ve learned that everyone relies on each other for the show to work, so being responsible is crucial. Trust is just as important – whether remembering your lines, cues, or helping with props; knowing your team will do their part keeps everything running smoothly. I felt like crying during “Kiss the Girl”, especially because it was the entire cast, all up on stage, sounding so beautiful and glorious together.
Mr Wallace’s direction has made the production feel organised and creative, helping me to understand my character and role more clearly. His guidance encourages teamwork, attention to detail, and confidence onstage, which makes performing more enjoyable and meaningful. With the help of Ms Middleton, I have discovered that I quite enjoy singing on a stage by myself, and especially when projecting. While I find higher notes harder, I really enjoyed having that control over my voice on how to push it past its old limits.
I’d like to say a special thank you to Ms Middleton and Mr Wallace, and to Yaelle (a member of the ensemble) and Thibaud (Flounder). Ms Middleton and Mr Wallace really helped me get through some tiring parts of the process, especially on notes I didn’t understand, or confusion with stage block and directions. I owe them my entire acting experience, and couldn’t imagine a production without them. Yaelle was always there for me when I needed help with notes on songs; I can never truly repay that, but I hope one day I can. I also couldn’t live without the crew, who hype everyone up, helping people feel great. I don’t think I could have made it through without them, especially Thibaud.
Although performing in front of a live audience is scary and nerve-racking, in the end, you feel proud of yourself, because you’ve spent six months working on a beautiful production, and then it’s your time to shine.
Overall, ISL’s version of “The Little Mermaid” shows its audience the importance of being true to yourself and making your own choices. It encourages curiosity, confidence, and standing up for what you believe in. And to anyone thinking about joining the Secondary Arts or Tech and Backstage After School Activities at the International School of Lausanne, I would say, do it: it’ll be the experience of a lifetime. Everyone is so nice, and it will lead to memories that will never leave. The experience was everything to me, and I am so sad to see it end.