Frozen – The Broadway Musical

The first Australian amateur production of Frozen – the Broadway Musical brings to real life the Disney movie that has fascinated thousands of little girls over and over again! Two princesses, a duplicitous prince, a reindeer, a talking snowman, snow, ice, a mountain landscape … and magic! A mammoth task for an independent theatre company!

But magic is what the huge team from PACA has achieved.

Based (very loosely) on “The Snow Queen” by Hans Christian Anderson, Frozen tells the tale of Elsa and Anna, separated in the same castle for years to protect one from the threatening magic of the other, until, following the death of their parents, Elsa succeeds to the throne, and they meet again!

Despite Anna’s desperate attempt to rekindle their childhood affection, Elsa’s hidden power to create ice and snow is revealed, and the kingdom of Arendelle is plunged into endless winter. Ashamed, Elsa flees into the mountains. Anna, determined to mend the rift between and save Arendelle, follows …

It could seem daunting to create the different settings – Arendelle, a castle, a snow-filled mountain landscape, magical effects – as well as and designing and making a vast array of costumes for a cast of 16 principals (including two pairs of young Elsa and Annas) and an ensemble of 16. With a skilled team of 29 creatives, 20 lighting and sound technicians, a 21 strong orchestra led by Musical Director David Catterall, 6 “unseen” singers in the vocal booth, and 9 stage crew and 7 dressers working backstage, PACA has certainly put a lot of weight into this production.

That’s a total of 124, each one contributing in their own special way to the creative success of this production. It’s a lot to oversee, but producers Rodrigo Medina Noël and William Pulley are committed to “pushing boundaries” as is their Director Kaitlin Hillier.

As well as acknowledging the spellbinding reach of the original movie, Hillier cites much of her vision to the Golden books she read as a child and the painted backdrops of mid 20^th century Disney animations. The modular set framed by picture book screens transforms a castle into an icy forest, staircases into bridges and mountains. “This fluidity”, Hillier explains, “connects to a child’s imagination, where the world around them can become anything they wish it to be”.

That fluidity, created by multiple, changing images and magical lighting effects, creates the fairy tale enchantment of the kingdom of Arendelle, where two little princesses play under “Northern Lights”. Eliana Foote and Penelope Mortimer alternate as young Elsa. Zoe Loesch and Maya Tobin as young Anna.

It is Eliana and Zoe who tickle the opening night audience with their charming interpretations of two happy children singing the catchy “Do You Want to Build a Snowman?” and inadvertently setting off the icy magic that is hidden in Elsa’s hands. Eliana finds the slightly older maturity in Elsa that allows her to accept and understand the danger of her power. Zoe establishes the restless energy that will drive an older Anna’s determination and grit.

Costume designers Erica Williams and William Pulley have subtly ensured the “colours” of the princesses from the movie are sustained – Elsa in icy blue, Anna more summery – without restricting their own imaginative vision, or those of their costumiers, or of wigmaker Jemima Rose Dredge.

King Agnar of Arendelle is Simon Buchner who finds the dignity of the role as well as affection for his daughters and the dreadful responsibility of having to separate them to protect Anna. His Queen, Jessica Gowing, shows both deep affection – and necessary restraint – as they explain to Elsa the danger of her powers.

It is not until after their death and Elsa’s coronation that the mature princesses meet again “For the First Time and Forever”

Elsa, steeped in a life of solitude and responsibility, is played with icy restraint by Cassidy Lobb. Lobb brings overseas and local experience to the role as she creates and sustains an Elsa who is aloof, surrounding herself with a cold remoteness based on fear and responsibility that is strong enough to reject Anna’s pleas to reconnect. Lobb uses that same control in her voice, especially as she warns Anna that its “Dangerous to Dream”.

Sophia Duncan brings contrasting warmth and openness to the part of Anna. Duncan gives Anna optimistic energy and an openness that almost breaks Elsa’s reserve – and a sense of romance and adventure that attracts visiting Prince “Hans of the Southern Isles”.

Hans, played by Alexander Billett, woos Anna with his elegant looks and charm as he explains that “Love is an Open Door” and whisks her away into a dancing dream of romance and adventure. Duncan and Billett bring a warmth and energy to the coronation scene with their pretty harmonies, playful fantasising and chic dance routines – until Elsa’s powers are inadvertently revealed and she flees from the wintry Arendelle her magic has created.

Determined to find Elsa, Anna follows. Seemingly just as determined, Hans follows Anna, accompanied by the cowardly local dignitary Weselton, played with conniving pomposity by Jeremy Barons.

On her way Anna meets ice-cutter Kristoff (Blake Lovely) and his reindeer Sven. Lovely calms Anna with his gentle sincerity and kindness, and Jack Fahd, hiding inside the incredible reindeer costume, manages to give Sven a real personality – as well as stage presence and a very carefully managed sense of distance!

Anna also meets Olaf, the snowman brought to life by Elsa’s icy magic. Skilfully operated and creatively voiced by Lachlan Ceravolo, Olaf is a much-loved Frozen character, and Ceravolo gives him just the right amount of chutzpah and “Summer” to completely captivate the audience – as does, Luke Arthur as Oaken in his little shop, complete with a smoking chimney and “staff” of dancers.

When they eventually find Elsa, she accidently strikes Anna with her magic – as she did when they were children – and Anna begins to freeze. Kristoff takes her to the trolls, Pabbie (Daniel Lavercombe) and Bulda (Marika Zorlu) who the Queen had summoned once before to combat Elsa’s magic.

Lavercombe and Zorlu bring an atmosphere of underworld sorcery to the production with their goblin-like costumes, erratic movement and weird intonations, but they are unable to help Anna, telling Kristoff that only a kiss of love can “Lose her Heart Freeze”.

It appears it will be up to Prince Hans to save her – but Hans is not what he seems. It is not really Anna that he wants, but the Queen and her domain. He rejects Anna, Elsa rejects him (as do all the little Elsas in the audience on opening night!) and Billett angrily marches him off, stage left!

It is loyal Kristoff who melts Anna’s heart. He and Olaf bring the sisters back together and Elsa, accepting the possibility of good in her power, uses it to bring summer and love back to Arendelle. 

Throughout the production – at the coronation, on the journey to find Elsa, emerging from Oaken’s little shop, in the rocky, troll underworld – is the Ensemble of sixteen seemingly tireless performers who make countless costume changes, sing a variety of songs, and undertake dance routines that vary from formal ballroom styles, to contemporary, to tap – all choreographed by Layla Bonny Owen and assistant choreographer Amelia Keith.

The icy environment of Elsa’s Arendelle, is lightened by the lithe agility of the dancers – and their costumes – often colourful, but in one scene ghostly white. Here their capes drape in a clever piece of choreography that conjures the old “streets and lanes” games of the past, as the dancers form changing wintery pathways that hamper Hans and Weselton in their pursuit of Anna.

And so the Elsa and Anna “End this Winter” letting go the loneliness of the past and facing a happier future with their new friends. The ending is happy – for everyone except Hans and Weselton!

There is much that will make this first amateur production of Frozen – The Broadway Musical memorable.  Elsa and Anna coming to life for the many young Frozen fans in the audience. The amazing commitment of the many creatives. The beautifully modulated voices and carefully rehearsed dancing of the cast. Even the chance to “boo the villain” in a musical! And especially the result of the passion that pushes independent theatre companies to achieve such high levels.

There MAY be a few seats left for the rest of the run of this excellent production – but you’ll have to be quick!

Carol Wimmer

Photographer: Grant Leslie