Pure magic: ‘Frozen’ regional premiere a triumph for Paramount Theatre
“Frozen, The Broadway Musical” — 4 stars
As dazzled audience members exited Paramount Theatre opening night following the marvelous regional premiere of Disney’s “Frozen, The Broadway Musical” one young girl — having succumbed to the late hour — slept peacefully in her seat.
Her counterparts — little girls with side braids, wearing ice blue dresses and carrying wands and one young boy with a stuffed reindeer — were awake. And every bit as awestruck as their parents by the artfully designed spectacle that seamlessly integrated set, sound, lighting, projections, props and costumes.
With this stunning production, director Trent Stork has set an impossibly high bar by which future revivals of this show — a combination coming-of-age tale and sibling bond celebration adapted from the 2013 Oscar-winning animated film — will likely be measured. Stork’s production is magical, and much of the credit rests with the creative team.
Set designer Jeffrey D. Kmiec provides the foundation in the form of a grand castle whose latticed arches drip with Spanish moss and an icy tundra dominated by giant snowflakes. Greg Hofmann’s ethereal lighting ranges from moody interiors to pastel-colored northern lights to sparkling, spiraling bursts. Paul Deziel’s gorgeous, Nordic-inspired projections include bucolic gardens, majestic mountains and undulating rivers. Mara Blumenfeld’s costumes range from homespun peasant garb to sumptuous ballgowns, one of which transforms in the blink of an eye into a glittering blue sheath that would make Bob Mackie envious.
Tiffany Krause’s whimsical choreography; Jesse Mooney-Bullock’s adorable, applause-inducing puppets; sound designer Adam Rosenthal, properties designer Aimee Plant, wig/hair/makeup designer Katie Cordts also deserve mention for their part in crafting an enchanting show that credibly reimagines some of the film’s memorable moments.
But those glorious visuals (including extra-special effects) would be for naught without superb leads Beth Stafford Laird and Emily Kristen Morris and a stellar supporting cast, which under music director/conductor Kory Danielson is one of the most vocally robust ensembles in recent memory.
The effortlessly charismatic, eminently personable Laird plays impetuous, non-magical younger sister Anna, a young woman who is fully herself, whose devotion helps Elsa embrace her true self. The stately Morris (a formidable vocalist) plays circumspect snow-queen-in-training Elsa, who transforms from a repressed youngster forced to conceal her abilities into a young woman, fully in control.
Equally impressive are their younger counterparts: the impish Avelyn Choi (who alternates with Elowen Murphy) as Young Anna and the kindly indulgent Genevieve Jane (who alternates with Everleigh Murphy) as Young Elsa.
The musical opens with the royal siblings happily at play in fictional Arendelle. After Elsa unintentionally injures Anna with her magic, their parents (played by Brian Hupp and Allison Sill) separate the girls to protect young Anna, leaving the sisters estranged.
Fast forward to the adult Elsa’s coronation where Anna finds romance with the princely charmer Hans (Jake DiMaggio Lopez) until another of Elsa’s unintentional magical eruptions — a midsummer blizzard — interrupts the festivities.
Fearful, Elsa flees for the mountains. Anna pursues her accompanied by ice merchant Kristoff (Christian Andrews, an affable, everyman here) and his reindeer pal Sven, whose outsize personality comes courtesy of actor/puppeteer Adam Fane. The group is joined by Olaf, singer/actor/puppeteer Ryan Stajmiger in a winning performance as the hug-loving snowman with a sunny attitude.
“Frozen” screenwriter Jennifer Lee penned the book and composer/lyricists Kristen Anderson-Lopez and Robert Lopez wrote the score featuring bright spots such as the familiar “Do You Want to Build a Snow Man?”; a lovely Anna-Kristoff duet titled “What Do You Know About Love?”; and the cheeky “Reindeer(s) Are Better Than People.” But what the crowd really wanted to hear was the anthemic “Let It Go.” Greeted with excited murmurs, it was exquisitely delivered by the clarion-voiced Morris who stopped the show.
“Stunning,” exclaimed a man sitting behind me.
Stunning indeed. In every way.
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Location: Paramount Theatre, 23 E. Galena Blvd., Aurora, (630) 896-6666, paramountaurora.com
Showtimes: 1:30 and 7 p.m. Wednesday; 7 p.m. Thursday; 8 p.m. Friday; 3 and 8 p.m. Saturday; and 1 and 5:30 p.m. Sunday through Dec. 22. Also 3 p.m. Nov. 29. No shows Nov. 28 and Dec. 25. Beginning Dec. 26: 1:30 and 7 p.m. Wednesday; 7 p.m. Thursday and Friday; 2 and 7 p.m. Saturday; 1 and 5:30 p.m. Sunday through Jan. 19. Also 2 p.m. Dec. 27 and 1:30 p.m. Jan. 2.
Tickets: $28-$95
Running time: About 2 hours, 15 minutes, with intermission
Rating: For most audiences