Review: ‘Frozen: the Musical’ retains magic of film through strong music and cast

Everyone remembers when Frozen mania gripped the world in 2013 — and a few more may remember when the story of Queen Elsa and Princess Anna graced the Broadway stage in 2018. Now, Frozen: the Musical is hitting the Atlanta stage with City Springs Theatre Company’s regional premiere production, through December 29.

This production is largely successful due in no small part to the brilliantly talented actors and top-notch music direction. While the story may feature some additions that are unfamiliar to devotees of the film, there is plenty here to please adults and children alike. 

It’s important to note that despite racking up multiple Tony Award nominations, the stage adaptation of Frozen received mixed reviews from critics, and it’s not hard to see why. Despite some rousing new power ballads, Jennifer Lee’s book is full of air. The film had just enough story to sustain its runtime, and the stage adaptation adds several scenes and songs that, while fun, are mostly of little consequence to the plot.

Still, there is a magic to the way the story is brought to life by director Robert W. Schneider, with appealing production elements crafted by a talented design team. Lighting designer Dalton Hamilton and scenic designer Jacob Olson pull out some impressive tricks to replicate Elsa’s powers.

Where this production truly shines, however, is the cast, and leading the pack is Leigh Ellen Jones as Anna. Jones is a marvel, nailing every shade and nuance of Anna’s character while keeping the comedy of the character in perfectly calibrated balance. Her charm is at its most incandescent in “Love is an Open Door,” and, while it is perhaps counter-productive for her to have more chemistry with Nick Walker Jones’ Hans than with Michael Stiggers’ Kristoff, that’s mostly the fault of the adaptation’s script removing Anna and Kristoff’s more intimate interactions.

Sarah Stipe is likewise a strong Elsa, if a touch strident on some of her high notes. She has the musical’s built-in showstopper in “Let It Go,” but the most interesting moment is the more understated “Dangerous to Dream,” when the audience is given greater insight into the things Elsa would want if she felt it safe to want anything.

Rounding out the central cast are the competing love interests — Jones as Hans and Stiggers as Kristoff — alongside Brian Wittenberg as Olaf. Jones and Stiggers are talented performers, though it really is sad how lost Kristoff feels in the stage adaptation. Wittenberg is a standout, imbuing the Olaf puppet with the appropriate amount of personality while bringing superb vocal work — though the puppet itself is so realistic, it’s somewhat disturbing. 

Cleo Saliers and Haley Byrd are great as Young Elsa and Anna, respectively, bringing a sensitivity to character and musical precision impressive for their ages.

The cast is supported by a first-rate ensemble. Credit must be given to music director Jesse Warkentin for pulling together some resplendent group vocals, particularly during the opening number and Elsa’s coronation. There are a few unnecessary songs here and there (like the Act 1 opener “Hygge,” which serves to give a one-joke character from the film his own number), but they are well-sung and well-choreographed by Caitlin Belcik.

Above all, the heart of the story that captivated so many is definitely still here. If you love the film Frozen or are looking for whimsical, non-holiday-centered joy, this production is sure to thaw any winter blues.

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