Enchanted Ice: The Stage Spectacle of Disney's 'Frozen'

Presented by the FSCJ Artist Series at the Moran Theater in the Jacksonville Center for the Performing Arts, Disney’s Frozen elevates the original film with a more complex narrative, dynamic stagecraft, stunning costumes and powerful performances.

For those who may not have experienced the magic during its initial cinematic burst in 2013, the story of Frozen whisks audiences away to the enchanting kingdom of Arendelle. Here, sisters Elsa and Anna grapple with Elsa’s magical ice powers, which she struggles to control, inadvertently casting their world into perpetual winter. As Anna courageously sets out to find her sister and heal their land, they encounter memorable characters like the endearing snowman Olaf and the rugged Kristoff with his loyal reindeer, Sven. The tale unfolds with themes of love, family and acceptance, deeply resonating through powerful performances and stunning visuals.

The stage comes alive with the vibrant performances of young Anna and Elsa, played Saturday night by Norah Nunes and Avelyn Lena Choi respectively, whose adorable rapport sets the tone for a heartwarming adventure. The two young actresses are brilliant together and Nunes’ onstage energy is explosive, igniting the narrative with youthful exuberance.

Adrianna Rose Lyons fills Elsa’s shoes with a compelling dignity and depth, particularly during her phenomenal rendition of “Let It Go,” which brings the house down with enthusiastic applause. Lauren Nicole Chapman’s Anna is a delightful whirlwind of adorkable charm and boundless energy, surpassing even Kristen Bell’s animated portrayal, reminiscent of a young Bernadette Peters with impeccable comic timing.

A noteworthy adaptation in the production is the replacement of the original film’s trolls with the mystical Hidden Folk of Icelandic and Scandinavian folklore, enhancing the cultural authenticity and enriching the narrative texture of Arendelle’s world.

The puppets of Sven and Olaf stand out as marvels of the production, with their intricate craftsmanship and an aura of warmth that seems to bring their materials to life. Sven, with his detailed antlers and coat matted from the snow, moves with such convincing grace that the puppeteer behind him, Collin Baja, becomes nearly invisible. The athleticism displayed by Baja, and his counterpart, Dan Plehal, is awe-inspiring as they spend the entire performance bent over in the costume and on stilts, achieving a physical resemblance to reindeer that is truly remarkable. Olaf, performed Saturday night by understudy Jason Goldston, is equally impressive; his construction allows for a range of expressions and movements that give the snowman a charming, lifelike quality. Goldston manages to juggle singing, choreography and the nuanced puppetry of Olaf with a commendable stage presence, bringing Olaf to life in a performance that is both technically impressive and heartwarmingly endearing.

While the musical arrangements by Kristen Anderson-Lopez and Robert Lopez are generally spellbinding, there were a few hitches. An audio mix issue with the new song “What Do You Know About Love?” unfortunately muddled the lyrics — which was particularly problematic given that many members of the audience were hearing them for the first time. As an admirer of the Lopez’s work, it was tough to agree with my son Zachary, age 10, who observed that many of the new songs seemed repetitive and merely served to pad the show’s length. His critique that they felt like “filler songs to keep you watching so you didn’t leave” especially resonated during the drawn-out version of “Fixer Upper,” with an extended dance number which felt forced and became tedious.

The “Hygge” number initially served as a lively tune to draw the audience back after intermission, but its charm quickly waned. As the accordion-heavy music increased in tempo, it morphed into something akin to a cringy, dated Lawrence Welk Show number. The audience became even more uncomfortable when the ensemble ran out of Oaken’s sauna to perform a chorus line dance number seemingly naked, using leaf-covered branches to cover themselves, although they were clad in nude-colored tights. This attempt at whimsy was a little too risqué to be comfortably family-friendly yet not playful enough to truly amuse the kids, missing the mark on both counts.

However, the new song “I Can’t Lose You” was a notable exception. It was beautifully composed and well-integrated into the storyline, capturing our hearts even though it replaced the beloved reprise of “For the First Time in Forever” from the original film.

Nevertheless, the set design’s grandeur and the costumes’ shimmering elegance, particularly Elsa’s dress, were nothing short of magical, and the use of 3D projections to create icy transformations was visually stunning.

Also, the narrative changes in the musical adaptation of Frozen skillfully address some issues and apparent plot holes that plagued the original film. Writer Jennifer Lee explores Elsa’s isolation more thoroughly, adding layers of emotional complexity to her story. In the stage version, King Agnarr and Queen Iduna are portrayed as more proactive, attempting to help Elsa control her abilities instead of shutting her off from the world and her sister. Elsa is the one who decides to distance herself from Anna to protect her, infusing her character with tragedy and sacrifice. On stage it is also made clear that the King and Queen leave Arendelle to find help for Elsa, thus leaving Elsa feeling the burden of guilt for their death when their ship crashes at sea. Thoughtful adjustments like these throughout the show not only enrich the emotional stakes but also provide a more compelling and resonant narrative arc.

Despite a loss of momentum in the second act, the show’s creative strengths are undeniable, particularly in the use of the ensemble to represent elements like drifting snow, and in the visually arresting final freezing scene of Anna. These elements highlight the production’s ability to innovate and enchant visually.

Overall, while Disney’s Frozen might hit a few icy patches, its core is warm, filled with enchanting performances and magical stagecraft that ensure audiences leave feeling touched by the true magic of Disney and the powerful bond of sisterly love.

Disney's Frozen runs Saturday, April 27 through Saturday, May 4 at the Moran Theater.

For more information, full cast and crew credits and links to tickets, visit the Disney's Frozen page here on JaxPlays.