Elsa and Anna shine with the creative magic of set, costume and projection designers who make the national tour of the musical 'Frozen' irresistible.
Remember L.A. in 2013 at the peak of the mania for the Disney movie “Frozen”? When the clarion command to “Let It Go” rang through the air? When little girls wore blue satin and blond fishtail braids and conjured fearsome powers that they, like Princess Elsa, struggled to hold back?
I’m pleased to report that the answers to all these questions turned out to be yes. Inevitable qualifications aside, the North American tour is irresistible in its creativity and verve, seeking and often discovering the right balance between re-creation and innovation.Christopher Oram’s scenic and costume design, Natasha Katz’s lighting and Finn Ross’ video projections bring the fictional Nordic kingdom of Arendell gorgeously into three dimensions.
Puppet designer Michael Curry’s charming solutions for Broadway have come along for the ride too. Olaf is a standing puppet who goes around with his handler right behind him. This double entity is distracting at first, but it’s amazing how quickly you get used to it. Both faces express the same endearingly dopey sweetness.
But what sold me on this show was its emotional impact: How eloquently it portrays the bond between the sisters Elsa and Anna. We meet them as girls, when they’re played by the enchanting Alyssa Kim and Stella R. Cobb , the closest of friends until Elsa accidentally injures Anna with her ice magic. The girls are separated, the palace doors are shut, Anna’s memory of the incident is erased and she is left baffled and yearning for her sister.
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