One of the pleasures of regional theatre is watching familiar stories become unexpectedly personal. “Disney's Frozen” arrives with enormous expectations. Audiences know every character, every plot twist, and nearly every lyric before the orchestra plays its first note. The challenge for any regional company is not simply reproducing the animated film, but convincing audiences they are watching living people rather than costumed imitations.
This joint White Theatre and Coterie production succeeds with dazzling sets, super special effects, the best pit band I have heard in many years, and a cast who seems determined to wring every bit of value out of the playscript and the score that is there.
Director Kahlia Davis Philip wisely understands that beneath the dazzling effects and Disney spectacle lies a remarkably simple, intimate story about two sisters learning to overcome fear, guilt and isolation. The level of detail directed is remarkable. The production never loses sight of its emotional center and allows Elsa and Anna's relationship to drive the evening.
Costumes are spectacular, Sets are sublime (especially when we realize that this is an animated world rendered in three dimensions.) Lighting, sound, and special effects impress, and the consistency and quality of the vocal performances are as good as you see in any touring production. Set changes and transitions work well.
The two leading actresses carry the production with confidence. Elsa is the perfect Disney Princess portrayed with welcome restraint by Mary Ann Traxler, a soaring soprano who allows Elsa’s emotional journey to build naturally toward the inevitable "Let It Go." The audience's enthusiastic response confirms that the show's signature moment remains every bit as thrilling in live theatre as it was on film.
Princess Anna portrayed by Karese Kaw-uh provides warmth and humor. Anna’s boundless optimism never becomes cartoonish, thanks to an actress who finds genuine sincerity beneath the comedy. I was put in mind of Aido-Annie from Oklahoma or Meg from Brigadoon. The chemistry between the sisters anchors every major scene and gives the production emotional credibility.
The supporting cast contributes generously. Kristoff portrayed by Shawn Murphy is appealing without trying too hard to be a romantic leading man.
Olaf the snowman is expert puppetry operated by Travis Mendoza-Holt who proves how superior performances emerge when an actor opens up to the authenticity of a character and turns out to be warmly funny on stage. Good puppetry and a performer who understands understatement and keeps the puppet character from being more than merely a children's attraction.
Prince Hans played by Carson Tate is the charming Disney Prince before taking a darker turn. Carson is a perfect tenor-leading man and impresses before unexpectedly surprises the audience in Act II. My Goodness…Carson’s dilemma is problematic. In the UK, they have an heir and one spare to the monarchy. Imagine if you were the 13th spare and how that might twist your perspective.
The other puppet is, of course, Swen the massive comedy reindeer. He is lugged around for almost two hours without complaint by Jerimiah Angolo. It is not an easy or painless task.
“Frozen” lives or dies as a result of its technical execution. This company deserves considerable credit for its excellent scenic projections, area spotlighting, and on time atmospheric effects. They recreate Elsa’s kingdom without duplicating Disney's unlimited budget. The magical moments are believable. The audience willingly accepts the theatrical illusion.
The orchestra delivers Kristen Anderson-Lopez and Robert Lopez's familiar score with energy and polish. The balance between orchestra and performers is excellent, allowing the complicated lyrics to remain understandable Ensemble singing is particularly strong during the larger production numbers, giving the evening a sense of scale beyond what many regional theatres achieve.
There are challenges built into the material itself. Little kids love this story. Many come dressed as Disney Princesses. The structure is a little confusing, but this entire cast brings it off like they mean it. This show is cast from a variety of age groups. Most of the dance sequences are fairly simple, but they are all executed at the highest possible level. Choreographer Hew McKoy took a look as the dancers she had, wrote to their skill levels, and created a dance scheme that hangs together very well.
I though I did catch a little bit of Disney “behinds the scenes” that perhaps we were not expected to put together. For example, when the villagers and fairies poured out on stage with big wigs. The dance routine harkens back to elements of 1969… You get the feeling that an inside joke is being played on the audience and we are seeing a scene from “Hair” dropped into this show. And do the prayed incantations sound a great deal like the opening of “The Lion King?” Does the puppet snowman really belong originally on Avenue Q? I saw a similar character in the Sessame Street parody. Heck, the kids like the Snowman just the way he is.
Ultimately, however, “Frozen” reminds us why live theatre remains such a powerful experience. Children delight in seeing beloved characters come to life only a few feet away, while adults discover that the story's themes of family, sacrifice and unconditional love resonate far beyond Disney's target audience.
This production of “Frozen” embraces both the spectacle audiences expect and the humanity that makes the story endure. It may not possess Broadway's unlimited resources, but it demonstrates once again that imagination, commitment and heartfelt performances can create theatrical magic every bit as memorable.
“Disney’s Frozen” continues at the White Theatre inside the Jewish Community Center Complex in Overland Park through July 26. I recommend “Frozen” for the kids and the little kids left inside all the stuffy Moms and Dads.
Photos by Connor Dudzik-Smalley
|
Wicked Music Hall Kansas City (8/12-8/30) |
|
Rainbow Kitten Surprise at Starlight Theatre Starlight Theatre (7/27-7/27) |
|
BLUES FOR AN ALABAMA SKY Just Off Broadway Theatre (3/11-3/20) |
|
Guns N’ Roses Busch Stadium (8/16-8/16) |
|
Clint Black & Midland Ozarks Amphitheater (10/10-10/10) |
|
Xanadu Music Theatre Kansas City (7/17-7/19) |
|
Bryson Tiller Hollywood Casino Amphitheater (10/03-10/03) |
|
NJT Presents the STL Premiere of "Job" August 6 – 23 J's Wool Studio Theatre (8/06-8/20) |
|
The Phantom of the Opera Music Hall Kansas City (12/06-12/06) |
|
The Shark is Broken Metropolitan Ensemble Theatre (8/13-8/23) |
Reader Reviews
To post a comment, you must register and login.