SeaWitch
Theatre Royal Drury Lane
Sunday 1st March 2026
Sea Witch Story Flounders
We all know the classic story of The Little Mermaid, but what happened before that fateful bargain between the mermaid and sea witch? Kristopher Russell and Michael David Glover’s Sea Witch, based on Sarah Henning’s book of the same name, is an ambitious new show that dives into the back story of the ocean’s most iconic villain. The musical sailed into London’s West End at Theatre Royal Drury Lane on Sunday for a one-day world premiere.
The story follows Evie, a girl shunned by the royal queen and ostracized by society for her otherness. In a world where magic and witchcraft is strictly forbidden, Evie doesn’t fit in. So when she meets a mysterious girl from the sea who also shares magical origins, Annemette, she seeks companionship. But is everything as it seems, or will the darkness from Evie’s past resurface? The premise is compelling, but the production remains surface-level and adrift. The narrative, to the extent there is one, is difficult to follow. Sea Witch reads less like a complete story and more like a collection of musical numbers loosely strung together without direction. The plot finds its legs during the last hour or so, but that is not nearly soon enough for an almost three-hour-long production.
Where the plot struggles, the music soars. The music and lyrics by Segun Fawole offer a contemporary and exciting, if a little repetitive, theatrical score. From sweeping power ballads to intense ensemble numbers, Fawole has crafted a commendatory score fitting of the show’s modern style. The music, combined with a cast of stars and vocal powerhouses including Natalie Paris (Evie), Mazz Murray (Queen Charlotte), Amy Di Bartolomeo (Annemette), and even Ru Paul’s Drag Race star Michelle Visage (Tante Hansa), is what sets the show apart. Paris, in particular, excelled as she delivered a warm acting performance and resonant, forceful vocals.
Equally impressive was the show’s ensemble cast. They were split between dancers and vocalists, making for a company large enough to fill the vast stage at Theatre Royal Drury Lane with ease. Their harmonies were tight, their choreography dynamic, and their presence provided a sense of energy and radiance. This guaranteed that even when the narrative felt empty, the stage never did.
Even so, it wasn’t enough to overcome the flat story-telling. The absence of a narrative through-line makes the musical’s message all the more difficult to decipher. There were undeniably touching moments of female friendship, forbidden love, and self-determination, but they felt isolated. If the audience is meant to take away something meaningful, I am not sure what it is. This is the heart of the problem for Sea Witch: it doesn’t know the story it’s trying to tell. The obvious thesis is that “villains are not born, they are made,” but the production fails to make that point with any conviction. I am intrigued to see if this issue will be fixed with time, as the musical is still developing. But for now, while Sea Witch holds promise, its story flounders.
Sea Witch made its world premiere at Theatre Royal Drury Lane on Sunday, March 1st. You can follow their Instagram (@seawitchmusical) for updates on the show’s development.
⭐⭐⭐
Reviewer: Jordyn Murray