Thomas Schumacher, who produces both Disney shows, is eager to see The Little Mermaid recognized as her own person (so to speak). Mind you, there are undeniable similarities. With The Lion King, Schumacher says, “we were fortunate to have a team that, although mostly new to Broadway, had established themselves on the world theater scene.” Likewise, he points out, Tsypin and Zambello are both best known for their extensive work on the international opera circuit.

Following King’s lead in employing the power of suggestion to achieve a sense of place, Mermaid draws on an ethereal combination of lights, projectors and flowing plastic strips to give an underwater feel, while fish and other swimming sea creatures are played by headdress-wearing actors who glide on wheeled sneakers like the ones your ten-year-old wears. Though early reviews from the show’s Denver run indicate these devices are largely effective, other liberties taken with the film’s plot had test audiences grumbling (we’ll spare you the spoiler details).

Composers Alan Menken and Glenn Slater have added several new songs, including “Positoovity,” a tap dance number sung by Scuttle the seagull, and “Her Voice,” sung by Prince Eric, whose expanded role demanded solo material. Even if these tunes don’t become hummable hits, faves from the film such as “Under the Sea” and “Kiss the Girl” should more than make up for it.

Speaking of “the Girl,” it could be argued that the show’s fate rests largely on the dorsal fin of the actress portraying Ariel, Denver native (and redhead, natch) Sierra Boggess. Good news on that front: Boggess’s performance is already earning Tony buzz. Look for similarly stellar performances from Sherie René Scott (Dirty Rotten Scoundrels) as Ursula and Sean Palmer (The Apple Tree) as Eric.

Whether The Little Mermaid will be part of your world for the long haul is hard to say, but one thing’s for sure—it’s going to make a splash.

The Little Mermaid begins previews Sat 3.