The Paper Mill Playhouse here has only non-stop a new chronicle of “Disney’s ‘The Little Mermaid,’ ” an spectacular that ran for 685 performances on Broadway after a premiere in Jan 2008 though was no doubt a beating for Disney compared with “The Lion King” and “Beauty and a Beast.” The progressing “Mermaid” was generally reviled by critics; a new one works improved by not perplexing to be some-more than it is.

The Paper Mill entertainment comes with a new executive (Glenn Casale), choreographer (John MacInnis) and scenic engineer (Kenneth Foy), as good as dual new dress designers, Amy Clark and Mark Koss, and a integrate of new songs. More important, it comes with a new sensibility. The progressing version, during slightest from a video clips accessible on a Internet, was a cranky between a children’s story and a Cirque du Soleil show, featuring clumsy, off-putting costumes and choreography that done complicated use of Heely-like boots with skating wheels embedded in them.

At Paper Mill, Ariel (Jessica Grové), a charmer of a title, spends a satisfactory volume of time aloft — that is, floating and swimming above a theatre — as do assorted others, and Scuttle a sea gull (Matt Allen) flies. You’re always unwavering of a actors’ harnesses, though somehow this seems a some-more organic fit for a story than all that skating was. And a gimmick substantially has a aloft wow cause for a show’s aim audience.

That assembly is utterly clearly 12 and under, and a arrogance is that these congregation are fans of a 1989 charcterised film and don’t most caring about highfalutin reinterpretations thereof. This chronicle isn’t demure to plead a movie.

Take, for instance, a costuming of Ursula a sea magician (Liz McCartney), a knave of a story, who tries to take Ariel’s poetic voice and adopt a energy of her father, King Triton (Edward Watts). The green get-up of Broadway is gone; here Ursula is all purple and black, her colors during a multiplex.

The uncover might be pitched to youngsters, though it takes an adult to conclude only how good Ms. McCartney’s opening is, and Alan Mingo Jr.’s, too. He is Sebastian a crab, confidant to Triton, and he does a fine pursuit of putting his possess spin on a colorful prolongation series “Under a Sea,” one of a best-known of a Alan Menken/Howard Ashman songs from a movie. (New songs for a theatre are by Mr. Menken and Glenn Slater.)

Things swamp down a small each time a intent of Ariel’s affection, a tellurian Prince Eric (Nick Adams), shows up, though that was loyal of a film as well; there only isn’t most to a character. There’s also not most to his ship, that looks as if it’s done of cardboard.

In a movie, that boat plays a critical purpose in a howling climactic scene. Here, a finale has been redone to make it some-more stageable, though in a routine it has turn not really noted and a small disjointed to boot. Too bad; even a children in a assembly are substantially awaiting a large boon for carrying sat by a story they already know well.

A prior Disney film-turned-stage-musical had a rehearsal during Paper Mill: “Newsies,” that played there in 2011 before going on to Broadway and dual Tony Awards. What a destiny binds for this new “Mermaid,” reduction ostentatious and some-more kid-centered than a predecessor, depends on how many relatives are peaceful to flare over big-house sheet prices to perform a small mermaids in their lives.

The Little Mermaid

Music by Alan Menken; lyrics by Howard Ashman and Glenn Slater; book by Doug Wright, formed on a Hans Christian Andersen story and a Disney film constructed by Mr. Ashman and John Musker and created and destined by Mr. Musker and Ron Clements; destined by Glenn Casale; choreography by John MacInnis; song director, Craig Barna; sets by Kenneth Foy; costumes by Amy Clark and Mark Koss; lighting by Charlie Morrison; sound by Randy Hansen; hair and wig pattern by Leah J. Loukas; makeup pattern by Ana Marie A. Salamat; drifting sequences choreographed by Paul Rubin; drifting by Foy; orchestrations by Danny Troob; immaterial song and outspoken arrangements by Michael Kosarin; prolongation theatre manager, Kim Vernace. Presented by Paper Mill Playhouse, Mark S. Hoebee, producing artistic director; Todd Schmidt, handling director. At a Paper Mill Playhouse, 22 Brookside Drive, Millburn, N.J.; (973)376-4343, papermill.org. Through Jun 20. Running time: 2 hours 15 minutes.

WITH: Nick Adams (Prince Eric), Matt Allen (Scuttle), Sean Patrick Doyle (Jetsam), Jessica Grové (Ariel), Scott Leiendecker (Flotsam), Liz McCartney (Ursula), Alan Mingo Jr. (Sebastian), Christian Probst (Flounder), Timothy Shew (Pilot/Chef Louis), Edward Watts (King Triton) and Ron Wisniski (Grimsby).