Jeremy Chernick’s dazzling special effects keep our eyes moving past the thinner moments in plot and character development. Having said that, he makes up for this stumble with Elsa’s iconic costume change. It is possible that costume designer Christopher Oram was trying to draw inspiration from the Gauls, but he doesn’t stick the landing, a fault underscored by the audience’s puzzled reaction when these characters show up. In the translation of trolls to human form, the costumes become generically tribal, in a stylistic choice that initially seems odd given the Norwegian roots of the Snow Queen fable from which “Frozen” takes its inspiration. Less revolutionary is the costuming of the Hidden Folk, who are permutations of the trolls from the movie, the two leads of this group played by an extraordinarily entertaining Tyler Jimenez and Brit West. Sven the reindeer (inhabited here by Collin Baja) and the snowman Olaf (F. While this choice may be only for the benefit of the kids, a story where the women aren’t catty sadly seems revolutionary. The sisters aren’t bickering mean girls they support each other and show genuine concern. “Frozen’s” success is partially due to its feminist messaging, which centers the two women for the majority of the musical, and passes the Bechdel test in a way that most other works of art on stage or screen don’t. (There are fart jokes aplenty.) In the duet “Love Is an Open Door,” she and a stellar Austin Colby as Hans deliver a dance routine guaranteed to impress.Įlsa, played by Caroline Bowman, is an imposing force with a show-stopper voice that is able to breathe new life and zest into the overplayed “Let It Go.” Elsa’s character, the queen who flees after accidentally freezing her kingdom with powers she can’t control, is less broad than her sister Ana’s, but Bowman makes the most of the one-note brooding she’s been assigned. Actor Caroline Innerbichler as the plucky Anna successfully dead-lifts the energy level for the entire show, shifting manically from mood to thought to joke in the time-honored tradition immortalized by Robin Williams as the Genie in “Aladdin.” As Anna, one of the more relatable of the Disney princesses, Innerbichler revels in playing a role with range and depth, and occasional bouts of gas.
Moments from the film that felt energetic hold more negative space, placing the onus on the actors and dancers to emote and fill what - in comparison - now seems like a chasm of empty space. Run time: 2 hours, 15 minutes with an intermissionĪdapting an animated movie to the stage poses particular challenges, the biggest being compensating for the hyper-editing in animation that rapidly cuts between dozens of images and gags in the space of one scene or song.
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