AUGUSTA—It started with Beauty and the Beast and The Lion King. Somehow, there is a little bit of magic in Disney musicals adapted from beloved animated films for the stage. And in the right hands, they can be positively transcendent.

Without a doubt,  The Little Mermaid at The Barn is in terrific hands with Director Hans Freidrichs.

Based on the 1989 movie credited with reinvigorating animation that also won two Academy Awards for composer Alan Menken, the stage adaptation magnifies the wonderful, colorful characters and the most memorable songs from the film, and adds a few more, slightly updating the story to bring to life a fantastic amalgamation of puppetry, song and dance, live music, and a cleverly imagined underwater world.

Whereas the 2008 Broadway production was criticized for its tackiness and over-the-top effects, Friedrichs eschews wires and roller-skates and an overly cumbersome technical concept, instead capitalizing on the genuine talent of his cast and crew to create a dazzling spectacle with splendid performances.

This is the Barn’s fifth production this summer, and the company members are particularly well-suited to their roles in this show. Central to the basic plot line, inspired by the Hans Christian Anderson story of a mermaid who barters her voice for a chance to be human, is Ariel. Melissa Cotton Hunter possesses the magnificence of voice for the title role as well as a wide-eyed openness and yearning. Jamey Grisham is a sweet starry-eyed Prince Eric with his own convincing longings. They’re wonderful together, and “One Step Closer” in which which he teaches her to dance as a way to speak without a voice is both moving and impressive. Grisham’s choreography, athleticism and breath control are astounding. They make intricate lifts look effortless.

Movement overall is hugely important to the magnificence of this show. The ocean never stagnates, and neither does this show. The underwater creatures are never entirely still. Their bodies undulate, but not overly so. Cotton Hunter is especially good at this; whether she’s seated, standing, or being carried by three mermen, her body moves in waves.

Much of Michael Wilson Morgan’s marvelous set is practically in constant motion as well. Long swaths of shimmering teal fabric held at either end by actors creates the feel of moving water, and a twisting blue tube with raised whitecaps imitates waves in the background during scenes set on land. Overall there are 23 scenes and a set change with practically every one. One of the triumphs of this show is how seamless the transitions between scenes are despite how dramatic the set changes.

And props as extension of characters that also make wonderful use of space are quite inventive, especially in the biggest crowd-pleasing numbers “Under the Sea” and “Kiss the Girl.” An iridescent paper lantern with the bottom cut off becomes a mesmerizing jellyfish when lit from within, while dangling wavy strips of bubble wrap make for tentacles . The effect is extraordinary, and this is but one example of many magical delights.

Carly Heathcote’s fantastic costumes, too, create character. Women become flamingoes and swans with single evening gloves and makeshift beaks on one hand as shimmering dresses with carefully placed feather boas complete the effect. Mermaids in Crayola-bright wigs shimmer in unique seashell-cup bras and shimmery matching tails while mermen glide in spandex body suits. Every actor, every costume, captures the imagination in surprising ways.

The rest of the show is filled with other enormous characters and performances. Quinn Moran is the delightful quirky seagull Scuttle, and his tap dance number “Positoovity” with gulls Andy Donnelly, Sam Balzac, and Sam Massey is among the best in the show. Michael Fisher is a charismatic Sebastian the Crab in head-to-toe cherry red George Washington wig and garb. He leads the biggest, most spectacular numbers in the show, and his animated face and pan-Carribean accent are wonderful. Kasady Kwiatkowska is an excitable Flounder the fish and a wonderful puppeteer. So, too, are Brooke Evans and Nicholas R Whittaker, who play the wicked electric eel duo Flotsam and Jetsam, respectively.

The villainous sea witch Ursula is such a great character, and Penelope Alex makes her both formidable and sexy; she’s genuinely scary, not laughable or overblown. It’s an astounding feat. And her rendition of “Poor Unfortunate Souls” is almost more rock and roll than it deserves to be—it’s goosebump inducing, as if Pat Benatar were rocking it out.

Likewise, Eric Parker captures the nuance of the powerful and controlling King Titan who is also a tender-hearted feminist father. His finale reprise of “If Only” is genuinely touching. When he appears on stage, so do projected images of bubbles on the cyclorama, one of many impressive lighting effects by Molly Lamperis, including a lightning storm and devastating destruction. Her lights also bring light-hearted glee in both soft and bright shades. And the bubble motif carries over into literal bubbles being blown into the audience, evidence that we are all under the sea.

For those willing to suspend disbelief, the Barn’s Little Mermaid is absolutely magical and transcendent. Or at the very least, it’s a sumptuous feast for the senses, a delight for all ages.

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