Merman Michael

Voyage of the Little Merman

Laurie Beechman Theatre, NYC, March 25, 2026

Reviewed by Bart Greenberg

Blending two oft-visited themes in New York City cabaret shows—the magic of Walt Disney and the self-discovery as a gay man—Merman Michael brought his very personal show to the Laurie Beechman Theatre. He and his music director/accompanist/songwriter Henco Espag, created a program that was entitled Voyage of the Little Merman, and a mixed program it was; the show’s first half was far more successful than the second.

The show’s first section of the show was devoted to Michael’s discovery of Walt Disney World in general and the Little Mermaid film and its title character in particular with whom he formed an immediate connection. He began with a lush arrangement that mixed of “Second Star to the Right” (Sammy Fain/Sammy Cahn) with “A Dream Is a Wish Your Heart Makes” (Mack David/Al Hoffman/Jerry Livingston). It started as a piano solo, after which Michael displayed his sweet tenor, which contained enough grit to keep it interesting. What also kept things interesting was his entrance: he was clad in chains and bits of seaweed-like material in glittery silver over a bare chest and wore a modified mermaid tail. An original song by Espag, “A Merman,” allowed the singer to explore the moment he recognized who he actually was. His rendition of “Part of Your World” (Alan Menken/Howard Ashman) was filled with personal yearning.

Unfortunately, his father disapproved of all of this, so Michael tried to fit in. This led to his first costume change—a linen suit—and the delightful number, “When I Am Older” (Kristen Anderson Lopez/Robert Lopez), during which he roamed through the audience. After spending time as “Herc” (the high school football team’s mascot) he moved on to be another gay theater student. A mash up of “Welcome to New York” (Taylor Swift) and “Wrecking Ball” (Miley Cyrus) was an exciting way to celebrate the change. Unfortunately, this is when the show started to go flat.

The story became vague with its references to drug use and career woes. A segment about a semi-reconciliation with his father was rushed through, and a series of angst-laden belt numbers brought the energy level way down as they dissolved into each other. Even accompanying himself on ukulele didn’t vary the sound enough.

Showing a video of clips from the Disney film of The Little Mermaid led another costume change. Michael burst back onto the stage in a full merman outfit reminiscent of Bette Midler’s notorious get-up. The energy jumped up, bubbles were blown, bright umbrellas appeared, Michael began belting out “Under the Sea” (Menken/Ashman), and everything became fun and theatrical. What the show really needed was a director to help bring coherence to the story and to help maintain the energy. It wasn’t a bad show; it just needed more work.