Review: DISNEY'S DIE EISKÖNIGIN at Stage Apollo Theater, Stuttgart

The global musical phenomenon “Die Eiskönigin” („Frozen“) continues to captivate audiences of all ages in Germany. Following a successful run in Hamburg, Elsa, Anna, and Olaf have firmly established themselves in Stuttgart, the capital of Baden-Württemberg. This acclaimed production — a replica of the Broadway and West End versions — proves to be nothing less than pure Disney magic here as well.

Anyone familiar with Disney+’s filmed version of the musical already knows the kind of visual and musical spectacle unfolding live on stage night after night. The fairy tale based on Hans Christian Andersen, which culminated in the blockbuster “Frozen” and gave rise to a vast franchise, works exceptionally well as a stage musical too. Beyond the performances themselves, the true centerpiece of the production is its opulent design — especially Christopher Oram’s masterful work on sets and costumes. Exquisite court attire and countless colorful garments — hundreds of them sweeping across the stage night after night — envelop the ensemble in visual splendor. The film’s iconic aesthetic is carefully preserved, particularly for the two princesses Anna and Elsa. Elsa’s “Lass jetzt los” gown, covered entirely in rhinestones and weighing heavily on the leading actress’s body, is a visual coup few current productions can rival. For her major solo “Monster” in Act Two, Elsa is newly given a more emancipated costume that elevates the character beyond expectation and proves utterly thrilling. One of the evening’s great highlights is naturally the magical on-stage quick change in which Elsa transforms from royal attire into her glittering ice dress during her great anthem of self-discovery — pure theatrical enchantment. And there is more than enough of that to go around.

Not only are Olaf the snowman and Sven the reindeer seamlessly fused with their puppeteers through Michael Curry’s costume design, but through a host of distinctive theatrical flourishes both figures become touchingly lifelike — almost as though they had stepped straight out of the film. The set design radiates that same beloved sense of wonder: rapid scene changes follow one another in dazzling succession. Elsa’s bedroom transforms into the throne room, the throne room into a wisteria-covered castle garden, the kingdom of Arendelle turns in real time into a frozen landscape, and moments later we find ourselves inside a quintessential Scandinavian wooden cabin complete with sauna — all achieved through cutting-edge stage technology, overhead panel systems, and large-scale, intricately crafted props. Elsa’s breathtaking ice palace, dominated by a giant glittering staircase and suspended crystals, repeatedly serves as a setting and each appearance leaves the audience audibly breathless with awe. Through magnificent costumes, outstanding scenic design, state-of-the-art technology, and not least Neil Austin’s cinematic lighting design, Finn Ross’ symbiotic video design, and Peter Hylenski’s thunderous sound design, the production delivers a visual spectacle of the highest caliber, making “Die Eiskönigin” one of the most elaborate and impressive stage productions of our time. Unfortunately, on the evening attended, the sound mix repeatedly compromises both lyrical clarity and ensemble vocals, which at times becomes genuinely frustrating.

Compared to the film, the music by Kristen Anderson-Lopez and Robert Lopez has been expanded with numerous wonderful additional songs, yet none of the familiar hits are missing — quite the opposite: most of them gain even greater profile, momentum, and emotional impact. Michael Grandage stages the story, together with Jennifer Lee’s tightly structured book that honors the original, with a strong emphasis on the sisters’ relationship despite all the visual grandeur, allowing the central characters to appear far more nuanced than in the film. Kevin Schröder and Ruth Deny have translated the musical flawlessly into German, striking the difficult balance between fidelity to the source material, audience-oriented — especially humorous — adaptations, fresh lyrical impulses that deepen the emotional interiority of the characters, and the preservation of the already well-established song lyrics familiar from the German dub featuring Willemijn Verkaik as Elsa.

Under Guido Löflad, the orchestra performs the classic Disney songs with force and momentum, yet always with sensitivity. Rob Ashford’s choreography also integrates seamlessly into the overall experience, even creating several standout moments: the ensemble dances elegantly during the coronation sequence, a revue-style chorus line emerges for “Hygge” as a spirited opening to Act Two, and the mythical Hidden Folk celebrate exuberantly alongside Kristoff and Anna. Particularly impressive is the ensemble choreography during the major final conflict “Kälter, immer kälter,” in which the cast embodies both the soldiers threateningly hunting Elsa and the literal snowstorm accompanying the catastrophe at the climax. Another unforgettable image is Anna’s transformation into an ice sculpture as she attempts to save Elsa’s life: here, costume design, lighting, sound, ensemble, and choreography work together symbiotically to create a moment of towering drama that sets a new theatrical benchmark.

The 25-member ensemble slips into a vast array of roles and dazzles with strong dance performances, acrobatic elements, powerful vocals, and crystal-clear, beautiful harmonies in the choral passages. Lanie Sumalinog and Oliver Aagard-Williams portray the royal couple of Arendelle with a parental warmth that genuinely touches the heart. Enny de Alba and Shane Landers, meanwhile, charm as the mystical yet deeply lovable Bulda and Pabbie of the Hidden Folk — their song “Ein paar kleine Macken” positively sparkles with energy. Philip Rakoczy’s Swabian-accented Oaken is utterly hilarious in the “Hygge” sequence and quickly becomes an audience favorite. The same naturally applies to Olaf, portrayed by Edwin Parzefall with lovable and multilayered comic timing (including in the film favorite “Im Sommer”); once again, it becomes clear that covers, swings, and walk-ins are in no way inferior to their principal-cast colleagues.

Alexis Abreu faces the mammoth task of bringing Sven the reindeer to life, and rises to the physically demanding challenge so convincingly that the illusion of a real living animal with endearing quirks emerges. Simon Loughton sings Hans from the Southern Isles with charm and dreamy sincerity, making his eventual transformation into the antagonist all the more convincing: parts of the audience gasp audibly in outrage during Hans’ villainous self-revelation at the end — proof that Loughton has done everything right. His stage chemistry with Princess Anna is wonderful and adventurous, especially in “Liebe öffnet Tür’n,” where he and his supposed beloved perform acrobatic feats of the highest entertainment value. Eric Minsk is a true “Eiskönigin” veteran, having remained with the production through every cast change and even the relocation from Hamburg to Stuttgart. The Duke of Weselton seems tailor-made for him: squeaky, eccentric, irritating, yet consistently absurdly funny, the seasoned character actor storms through the piece as an antagonist one can never entirely hate despite his misogynistic streak — a delicate balancing act that Minsk masters brilliantly.

Andreas Nützl is another fantastic cover performer on stage. He draws every facet, nuance, emotional shade, and comic subtlety from the role of Kristoff, while singing “Wann warst du schonmal verliebt” and its touching solo reprises with pristine princely finesse. Few other actors in the role manage to imbue this hero — so often reduced to awkward hermit stereotypes — with such feeling, inner conflict, and relatability.

Kim Fölmli is a delightful Anna, gradually freeing herself from naïve dreaminess while revealing the deep childhood wounds that define Anna’s dynamic with her older sister Elsa. Fölmli carries the story confidently on her shoulders — because Anna ultimately emerges as the production’s emotional center on the journey toward discovering real love. In “Zum ersten Mal seit Ewigkeiten” and her duet “Du bist alles” with the Ice Queen, Fölmli also demonstrates striking vocal power — a Disney princess straight out of a storybook.

The iconic role of Elsa has already been shaped in Germany by major names in the musical theatre world: Sabrina Weckerlin, Willemijn Verkaik, and Ann Sophie have all left their mark on the character. The current principal performer is Chiara Fuhrmann, who alongside Pamina Lenn is perhaps the only actress to have portrayed both Anna and Elsa. Yet what West End star Mercedesz Csampai conjures on stage as the alternate Elsa is nothing short of magical: broken, desperate, hopeful, wounded, and defiant all at once, she paints the portrait of a courageous young woman struggling to grow into her own destiny. Every glance, every movement from Csampai seems to communicate something, reflecting the inner world, deepest thoughts, and emotions of her character — always torn between a carefully maintained façade and a soul ravaged by self-doubt. As an actress, Csampai delivers a highly complex characterization underscored by tremendous vocal power. With a résumé shaped by highly dramatic roles (Yocheved in “Prince of Egypt,” Christine in “Phantom der Oper,” Eponine in “Les Misérables,” and above all Esmeralda in “Der Glöckner von Notre-Dame”), Elsa as a psychologically layered figure is in virtuosic hands with Csampai — and every song, whether hushed and reverent in “Gefährlich wenn man träumt,” triumphant in “Lass jetzt los,” or electrifying in “Monster,” becomes a highlight of the production through this extraordinary performer.

“Die Eiskönigin” promises an evening filled with magic, grand imagery, beautiful songs, and performances of the very highest standard.

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