Review: DISNEY'S FROZEN, THE BROADWAY MUSICAL at Diamond Head Theatre

Diamond Head Theatre casts an icy spell over the heat of Hawaii’s kauwela with its 2023-2024 season closer of Disney’s Frozen, a “monster” of a show and a tremendous get for the Hawai’i theatre scene. This is by far one of the biggest undertakings artistically and technically in recent DHT history, even bringing on Broadway vet Charlie Williams to direct, who has been a part of this show since its pre-Broadway run in 2017. In the program, Mr. Williams waxes poetic about his experience with the community here on the island and at our community theatre (despite the decidedly non-community-theatre base ticket price of $68—nearly double that of past shows— but that’s another story never mind, anyway…). Frozen is, at its core, a story about the power of community, and I agree with him that our local performers innately understand the proverbial assignment.

On that note, I was really blown away by the ensemble of Frozen, who make up the majority of the human (and troll) Arandelle community. Hats off to these talented folks, under the musical direction of Jenny Shiroma, for creating the world of Frozen with such skill and vibrancy. From the chickenskin-inducing “Queen Anointed” choir at the top of the show (shoutout especially whoever was holding down the bass line on that one!), to the delightful Act II opener “Hygge” featuring David Weaver as Oaken (hoo hoo!), to Presley A. Wheeler’s duckwalk spotlight moment in “Fixer Upper”, all the way to the icy climax of “Colder By The Minute”, every one of the ensemble looked like they were having the time of their lives up there. And if the entranced little girls in their Elsa costumes waving their light-up wands next to me were any indication, I would say that the audience felt that magic too.

Speaking of Elsa, Alana Clayson as the embattled snow queen did not disappoint. The maturity and depth in her voice belies her age, and was a delicious counterpoint to little sis Anna’s (Alanna Poelzing) brighter tones. The two of them together shine especially brightly in “I Can’t Lose You”, which I found to be the most emotionally grounded performance of the entire evening. While Miss Clayson also proved that she can hold her own in “Let It Go” (complete with an impressive dress reveal orchestrated by costumer Madison Gholston), for my money, it was in “Monster” that she really solidified herself as a powerhouse performer.

Another absolute powerhouse was Kimo Kaona as Prince Hans, at once devilishly charming and ruthlessly cunning. His voice and stage presence were absolute standouts, roaring with authority in “Monster” and adorkable to a fault in “Love Is An Open Door”. Despite knowing the story of Frozen beforehand, even I managed to gasp at his villainous reveal at Anna’s side.

Natalie Coleman as Young Anna and Kyle Malis as Olaf also warrant recognition, both for adding considerable levity and charm to the production. Miss Coleman’s childish exuberance was unhinged and delightful, and perfectly suited to Anna’s bubbly personality. Mr. Malis’s double-duty as human performer and snowman puppeteer was impressive, as were his comedic moments and musical ad libs during “In Summer”.

Frozen has been a juggernaut of the Disney canon since the movie debuted in 2013. To take on an entity as big and beloved as this would be a challenge for any theatre, even more so for a community theatre in the middle of the Pacific. And while I felt that some directing choices throughout the show prioritized stagecraft over emotional connection, overall the production was a credit to the talent, creativity, and sheer magic boasted by our island. Our community—as Mr. Williams points out—is “bursting at the seams with love”, and that sentiment was palpable in this production. For all its bells and whistles, Frozen at DHT is at heart a powerful reminder of how much we cherish our community, and worth a night out at the theatre (if you can afford it).

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