MUSICAL THEATRE
Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez; Book by Jennifer Lee
At Her Majesty’s Theatre, Melbourne
Jemma Rix - Photo by Lisa Tomasetti
The excitement
was palpable and the atmosphere electric at the glittering opening night of Frozen – the Musical last night on a frosty winter's night in Melbourne. The premiere was postponed for a month while Melbourne
laboured through a June lockdown and it marks the first major musical to open in Melbourne since the beginning of the pandemic in 2020.
Act One begins with the joyful, prosperous Kingdom of Arendelle and the playful and loving relationship between princesses, Elsa, who has the magical ability to conjure snow, and her adoring, younger sister, Anna.
When Elsa’s spell backfires, striking Anna down, Elsa is compelled to live in isolation within the palace for the next ten years, to avoid harming her sister or any of the townspeople. The over-arching message of Frozen is that love conquers all and, by the end, that particularly applies to the sisters’ love.
Isobel Lauber, as Young Elsa, is a composed, solicitous and gentle presence, but the limelight is almost stolen by Stella Partridge’s Young Anna, who is a chirping, huggable, elfin child with a Shirley Temple cuteness factor.
However, Jemma Rix as Elsa ten years later, takes back the limelight as the elegant, subdued and stately princess hiding herself away and keeping Anna at bay to protect her. Rix’s voice has a polished, thrilling, rich tone and impeccable vocal control while her rendition of Let it Go was the highlight of the entire production. It deserved its own standing ovation at the end of Act One.
As the older Anna, Courtney Monsma has a sweet tone and lovely vibrato, and is a charming, pert, naïve and awkward teenager.
Matt Lee’s Olaf, the loveable snowman who comes to life, is an audience favourite, particularly for the littlies, with his sharp, comic timing, strong singing voice and, yes, he can dance. There was only a handful of children in the house, but the bell-like tinkling of their giggles at Olaf reminds us that this is a fairy-tale for children.
The creative team, under director, Michael Grandage, creates remarkable magic on stage, wringing ‘oohs’ and ‘aahs’ from the audience. Puffs of snow float from Elsa’s hands and twinkling lights appear at her gesture, a snowstorm engulfs the town of Arendelle when her emotions peak and, later, a huddle of townspeople freezes into an icy rock.
Huge shards of ice, conjured by Elsa, block the path of her pursuers, ice walls of shimmering lights and crystalline forms appear, and Elsa stands in her magical Ice Palace of delicate, gothic ice arches decked with sheer, shimmering canopies of glinting lights.
We gasp in wonderment when Elsa’s drab gown and cape miraculously fly off like vapour to reveal her glittering, white sequined Snow Queen gown.
The music and songs by Kristen Anderson-Lopez & Robert Lopez, are a highlight, as they were in the movie. In addition to the spine-tingling Let It Go, the show includes Do You Want To Build a Snowman? Little Bit of You/Northern Lights, What Do You Know About Love? and Monster, the melody of which has echoes of Let It Go.
Thomas McGuane’s Hans ‘The 13th son of the King of the Southern Islands’, is suitably smarmy, charming and princely, but Hans is too nice to be true. Never marry a man you’ve just met, as everybody warns Anna.
Sean Sinclair plays the ice-merchant, Kristoff, who fears going out of business when Elsa magically produces ice. Sinclair has the warm, rustic charm of Kristoff and is a talented dancer, but his voice occasionally slides off pitch – perhaps opening night nerves?
Sven the reindeer, played by Jonathan MacMillan on opening night, has personality, but it would be a joy to see more overt reactions and non-verbal communication between Sven and Kristoff to make the relationship more playful and physical.
We miss the majestic scale of the Ice Palace of the Disney animation in this stage version. Elsa walks down a few stairs but, without her regal appearance at the top of a spiralling staircase of ice from which she can address Anna as a Queen, her enchanting, sprite-like presence is diminished.
Company of Frozen - Australian Production - Photo by Lisa Tomasetti
Although much of the choreography (Rob Ashford) is charming and eclectic, some is less than innovative. A few songs and scenes feel unnecessary in Act Two, which makes it less captivating than the first, and the show finale is less exhilarating than Let It Go at end of Act One.
Remember, Frozen is based on a Disney animated film from 2013 which, in turn, is taken from a Hans Christian Andersen fairy tale. The show must feel magical and it will benefit from playing to a theatre filled with children.
Frozen the musical is a vivid and vivacious spectacle that will charm audiences of all ages who are familiar with the animated movie, but it should also win over those unfamiliar with the film.
By Kate Herbert
Director – Michael Grandage
Choreographer– Rob Ashford
Scenic & Costume Design – Christophe Oram
Lighting Design – Natasha Katz
Music Supervision & Arrangements – Stephen Oremus
Sound Design – Peter Hylenski
Video Design – Finn Ross
Puppet Design – Michael Curry
Music Director – David Young
Jemma Rix- Elsa
Courtney Monsma -Anna
Matt Lee- Olaf
Thomas McGuane -Hans
Sean Sinclair -Kristoff
Aljin Abella - Weselton
Jonathan MacMillan -Sven on opening night.
Loche McIntyre -Sven (other nights)
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