Review: DISNEY'S FROZEN Brings Its Magic To DCPA

Time and time again, Disney proves itself to be both a Jack of All Trades and Master of the Craft. Frozen is no exception and is the latest show to make its stop at DCPA's Buell Theatre.

The opportunity that lies within adapting the movie for the stage is fully captured with added musical numbers, fully-fleshed out characters, and spectactular moments only live theatre can bring. I especially loved the nod to the second film installation with an establised connection to Queen Iduna's Northuldran heritage. Perhaps though, my favorite addition is the duet between sisters Anna and Elsa in Act II, "I Can't Lose You".

The creative elements of the production provide a generous balance between realism and the animation we know and love, covered in stage magic like a soft blanket of snow. Scenic and costume design by Christopher Oram certainly played a major role in anchoring the show to a "universe". Plus, at the end of Act I came the moment we were all waiting for: Elsa's transformation/reveal to a gorgeous gown fit for an Ice Queen. It was everything I could have wanted and more.

Even among the magic and innovation, the cast of Frozen still remains the crown jewel of the show. As someone whose foundational years were forged in the choir, the ensemble's performance of "Queen Anointed" was a personal favorite among the larger musical numbers. Among the ensemble is standout Jack Brewer who remained featured throughout the show including in the role of Oaken in the opening of Act II's "Hygge". In the role of everyone's favorite snowman, Olaf, Jeremy Davis is confronted with a unique set of challenges other actors don't experience. That is to call it, "The Genie Effect". Much like Robin William's version of Genie of Aladdin, it is hard to watch someone else perform Olaf and not listen for Josh Gad's version of the character. Davis does a fair enough job of rising to the challenge, however, and certainly captured the hearts of families throughout the audience.

Preston Perez as Hans was the perfect Prince Charming - until he wasn't. And that's no shade! Perez does a nice job of playing the villain masquerading as a hero. With a beautiful voice to cap it all off, it is no wonder Hans is able to execute his plan. Kristoff, portrayed by Nicholas Edwards, is equally impressive as the "bit of a fixer-upper" ice salesman. Edwards perfectly captures Kristoff's cynicism towards society in contrast with his warm heart when interacting with his reindeer best friend and ultimately Anna. Edwards also comes equipped with a smooth voice that contributes to Kristoff's soft underbelly.

It's no secret that the story of Frozen revolves around the sisterly bond between Anna and Elsa, though I often feel Elsa is branded as the central figure. When it comes down to one person, however, the story belongs to Anna. We follow along Anna's journey to find her sister and ultimately meet other characters who are introduced through Anna, whereas we don't really meet anyone "through" Elsa. I say all this to highlight the level of difficulty required to play both of these roles - not just one or the other. The challenge, though, is made to look easy when in the hands of Lauren Nicole Chapman as Anna and Caroline Bowman as Elsa. Bowman is a vocal wonder, having an expansive opportunity to showcase both the softer side of Elsa in Dangerous to Dream as well as her full power in not only the iconic Act I finale, Let it Go, but the eleven-o-clock number of Act II, Monster. Chapman demonstrates a level of technical skill required for Anna that brings out my inner music and theater nerd. Anna's vocal part is incredibly demanding, all the while having to maintain a certain level of energy for the role, and Chapman gives a masterclass in the musical theatre art form.

Disney's long standing tradition of excellence lives on in many forms, not just Frozen. But the success of the franchise is rooted in something unique that makes it stand out from other stories. The the act of true love demonstrated in this tale is reliant on the bond of sisterhood. Their safety did not, and does not, depend on the heroism of a male, princely character. They are not damsels in distress and ultimately their success is dependant on each other. It is a a really nice change of course from the, shall we say, traditional fairytales. Let it only be the foudation for more great female stories to come!

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