Review: FROZEN at Murat Theatre Is Mystical, Magical, Fractal Fun

FROZEN the film has captivated audiences with its magic, charm, and music since its release in 2013, and Frozen the musical is all the same elements with some important and impactful twists. It’s a true spectacular and engaging for audience members young, old, and everything in between. So if you have any reservations about seeing this production on stage, let it go!

Celeste:

I’ve been a fan of Frozen since it first premiered, and it’s become a staple in my house ever since my one-year-old fell in love with the characters and songs, too. Therefore, I was prepared to be quite critical of the musical adaptation. But there was no need. I was instantly (and happily) pulled into the magical storm playing out on stage. 

Differences are obviously what stood out to me the most since I am familiar with the basic plot points already. One that was clever and enhanced the depth of this imaginative world was the switch from trolls to “Hidden Folk.” Instead of being rather silly and mostly humorous like the original trolls, the Hidden Folk are mysterious and even a little dark. It added a new layer to the world of Arendelle and harkened to Disney’s roots in reimagined fairy tales. 

Musically, there are several additions that bring even more to the experience and the story. Two that drew my attention actually happen back to back at the top of the second act, “Hygge” and “I Can’t Lose You.” “Hygge” is a feast for the ears (and eyes) as Oaken (played by Jack Brewer) teams up with his sauna-loving family to explain the meaning of “Hygge” and how it helps them hold onto their joy. “I Can’t Lose You” is easily my favorite addition in the musical. It is a love ballad between sisters, and it is a pivotal moment in the character development of both Anna and Elsa as one’s love demands they unite and the other’s love demands that they part forever. 

The cast as a whole was full of talent, especially the dancing, but there are bound to be some highlights. I particularly enjoyed watching a few cast members not only for their singing but also for their attention to detail as they developed their character. 

I was definitely drawn in by Olaf (Jeremy Davis). Bringing an iconic character to life is challenging for anyone, but Davis also had to juggle manipulating a puppet on stage. He was Olaf from head to toe, and that drew you into the character whether you watched him or watched the puppet. 

Another intimidating character to recreate is Anna. She’s a huge source of comedy in the animated feature, and there will be a lot of expectations from audience members that the comedy is just as good. I thought Lauren Nicole Chapman was a better Anna than the one in the film. She was more fully developed as her own person, and her stumbling charm was enhanced. 

Of course, portraying Elsa is a huge ask, but Caroline Bowman took on the challenge with grace. She stood out during her duet with Anna, “I Can’t Lose You,” but the clear test is “Let It Go.” She nailed it. I would gladly watch her perform that song on a loop because she brought everything about Elsa to life. She’s graceful and shy but also edgy and confident, and that came through in every note. 

Dylan:

Full disclosure: “Frozen” is not my favorite Disney princess movie, but it is my daughter’s favorite, so expectations were high. We absolutely adored the bigger message and the songs, and the story extended story was solid. As a show, the plotting remains baseline, but there was that special Disney magic that only live theater can creäte, and it performed a charming spell on the Murat stage. Of course, there was Elsa’s magic, but I’m talking about the thrill that came from experiencing something familiar but beautifully honed to be more up close and personal. There is also the inherent challenge of adapting a PG-rated Disney movie. The formula is there, but you have to know how to delve into the characters’ personal conflicts, which are fairly psychologically deep. 

The story concerns two royal sisters,  Elsa and Anna, forced to separate as children after Elsa is discovered to have magical powers that can freeze hearts. Their parents die and after a disastrous sailing accident, Elsa goes into self-imposed exile to avoid further harm. Anna spends the bulk of the story searching for her beloved sister. 

Songwriters Kristen Anderson-Lopez and Robert Lopez were tasked with composing about a dozen new songs. Some were catchy and rousing, and there is a great 2nd act ballad called “Monster,” which encapsulated Elsa’s dilemma. But nothing comes close to that essential Frozen show-stopper “Let It Go.” And happily, Caroline Bowman did not disappoint. The climactic scene was outstandingly staged by Director Michael Grandage. Solitary in her perfect ice palace, Elsa finally accepted her powers, singing to the balcony, and the Disney design team pulled out all the stops with more than a few creative effects. 

Modeling after “Lion King’s”-inspired puppetry, the show’s creators aced another challenge crafting the reindeer, Sven, and the snowman, Olaf. The technical stagecraft, remarkable as it was, did not overcome the human drama. Anna’s two admirers, Hans and Kristoff, were nicely fleshed out by Preston Perez and Dominic Dorset. And the two girls depicting young Elsa and Anna were adorable. 

In style, “Frozen” on stage was more like “Beauty And The Beast” than the groundbreaking masterwork “Lion King.” Kids will love it. But the big question: Can “Frozen” melt the hearts of sophisticated theatergoers? Thanks to those talented sisters, it did for us.

FROZEN offers audience members an open door into the magic of Arendelle, and you can see it for yourself from now until November 26th at the Murat Theatre in downtown Indianapolis.