Frozen

The Disney behemoth have been at it again creating jewels out of their back movie catalogue, with Frozen no exception. Their most successful animated movie ever has been given a glorious stage incarnation that looks simply stunning. From icy spears to a palace of sparkling crystals to magic tricks like Elsa’s end of first act dress change when one gown is whisked away and she stands resplendent in another, the visuals of this production are awe-inspiring.

Based on Hans Christian Anderson’s fairytale The Snow Queen, which is a dark parable of love, two young sisters lose their parents in a storm and the eldest, Elsa, has to assume power on the throne. But Elsa is no ordinary woman, having “monstrous” magic within her that can turn everything into ice. With Anna’s help, and a “kiss of love” the kingdom at the finale rejoices in sunshine.

Jemma Rix is an Ice-Queen with powerhouse pipes that more than do justice to the Oscar-winning song, and everyone’s ear-worm friendly diva ballad, “Let It Go”. Rix is the epitome of loneliness within her icy castle, unaware of the havoc she has wrought. Courtney Monsma as the “other” sister Anna is fun, boisterous and totally winning. Her performance of “Love is an Open Door” with the duplicitous Thomas McGuane as Hans (looking the perfect Disney Prince), was rafter-raising, whilst “What Do I Know About Love?” with ice carver Sean Sinclair as Kristoff was sweet and charming.

Olaf, the snowman from the film becomes a puppet operated by Matt Lee, which is goofy and funny and occasionally allows Lee to execute some stylish dance moves, especially in his solo routine “In Summer”. Lee’s sidekick, the reindeer Sven (Lochie McIntyre) is like a pantomime horse from old vaudeville days, scuttling in and out of scenes throughout the show.

The best and most entertaining number was the second-act opening “Hygge”, sung by Justin Anderson as Oaken and chorus, which gently satirizes the Nordic custom of getting drunk whilst naked in a sauna. A kick-line with branches covering their strategic parts was pure Broadway ala A Chorus Line - only naked. It was amusing, clever, and witty -  something the show as a whole lacked. The story, for most of the time, is overpowered by the special FX, with the best coup de theatre being the freezing of the ensemble towards the end of Act 2. It was gob-smackingly astounding.

Michael Grandage’s production moved along at a cracking pace, helped by great support from David Young’s pit orchestra.

Anyone who loves the movie will not be disappointed in this stage version of Frozen. It’s spectacular, it’s dazzling, and it’s magical!

Peter Pinne      

Photographer: Lisa Tomasetti