Review: FROZEN at the Bank Of America Performing Arts Center

It was just a few notes into “Let It Go” at the end of FROZEN’s Act One when a toddler from the audience started belting it out. There were shushes, of course. Some turned heads. 

But when that big chorus came, there was no stopping her. That kid was “letting it go” like the whole kingdom of Arendelle depended on it. 

And, you can’t blame her. When you’re a kid watching Frozen—the Broadway musical based on the 2013 Disney mega-hit that cemented its siren song into the psyche of three-year-olds everywhere—it’s hard not to want to sing along. 

Anyway, if the Elsa on stage (played by Monika Peña in this case) could hear the kid’s booming pipes, she didn’t show it. The famous Snow Queen carried on, her “frozen fractals all around.”

For the most part, 5-Star Theatrical’s production of Frozen The Broadway Musical—directed by Yvette Lawrence (with musical direction by Anthony Lucca) and playing through July 20 at the Bank of America Performing Arts Center in Thousand Oaks—does a fantastic job bringing the beloved Disney tale to life thanks to a bevy of knockout voices, lively dance scenes, and energetic performances from even its youngest cast members.

The show opens with the young princesses Anna and Elsa (the talented Amy Sorensen and Catherine Last) playing in their room one night. We discover that Elsa has the power to manipulate snow and ice. When she accidentally hurts Anna while they’re playing, she vows to conceal her powers and keep her distance from everyone, including her sister, even after their parents are killed at sea. 

Of course, as they grow older, those powers become harder to conceal. 

As someone who’s seen Frozen more times than I can count (thanks to my very theatrical, Disney-loving 10-year-old daughter), I’m always a little sad when the girls who play young Elsa and Anna leave to trade places with their grown-up leads. Maybe it’s because I’m a parent, but these kids are just such fun to watch, especially the tiny 9-year-old Sorensen, who plays Young Anna with the perfect amount of feisty adorableness. 

Their adult counterparts also shine. Ellie Smith, as the brave and free-spirited Anna, sings beautifully, with the right sort of spunky edge that lets you know she’s more than just a pretty princess. And Monika Peña, who plays Elsa, can hold those long, resounding notes impressively enough that my daughter turned to me, mid-”Let it Go,” and whispered, “She sounds just like Idina Menzel.” I don’t know about that, but Peña’s Elsa is certainly commanding—a worthy match for the role’s iconic status

Frankie Zabilka does a fine job as Prince Hans, especially during the hilariously choreographed dance break of “Love is an Open Door” (there are cartwheels and lasso moves involved); while Sawyer Patterson brings both a laid-back charm to Kristoff and a goofy voice to his reindeer, Sven.

As for Sven—puppeteered by Sebastian Guerrero—he may have stolen the show. I have no idea how that massive, loping contraption works, but it worked flawlessly. For all intents and purposes, there was a reindeer on the stage.

And then there's the show’s comedic relief, the lovable snowman Olaf (played by Landen Starkman, who voices and controls the snowman puppet). Starkman channels all the soft-spoken innocence of the film’s Olaf while adding his own expressions and vocal flair. As is often the case with this sort of puppetry, I never know whether to look at the puppeteer or the puppet, but it hardly matters since Starkman emotes in both places. 

Most of the show’s visual magic—from icy blasts to wintry blizzards—comes from projections and fog. There’s also creative choreography by Cheryl Baxter, who at one point turns the ensemble into whirling snowflakes to convey the storm’s chaos. It works, mostly, though the final climactic scene with Anna racing through the storm feels a bit jumbled. 

Speaking of dance numbers, kudos to Baxter for bringing so much life to the stage, especially during the merriment of “Hygge,” a number that features nearly the whole ensemble, line-kicking in bathrobes and towel dresses. Did I understand all of what Oaken (played by Javier Garcia) was saying through his thick Nordic accent? Heck, no! But it was lots of fun, nonetheless.  

Similarly, there were a few moments when the 13-piece orchestra overpowered the cast’s vocals, especially Peña and Smith, whose voices occasionally got lost in the mix. I could hear them, but I wanted to hear them more. Either the vocals needed a boost, or the accompaniment could’ve been dialed down. 

In all, I thoroughly enjoyed 5-Star Theatricals’ production of Frozen. Clearly, so did the kids in attendance—evidenced by the multitudes of mini Elsas twirling through the lobby afterward. And honestly, any show that draws children to the theater is a win in my book… even if they occasionally sing along.  

*Photos courtesy Veronica Slavin

Los Angeles Awards - Live Stats

Best Musical - Top 3

1. JESUS CHRIST SUPERSTAR (Hollywood Bowl)

9.2% of votes

2. HAIR (Conundrum Theatre)

5.1% of votes

3. HEATHERS (Backyard Playhouse: Treetop Production)

5% of votes

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