Disney Frozen Jr

If I was expecting a frozen wasteland of silvers, white and blues I was quickly disabused by the bright and colourful drapes that hung around the stage.  The large top-level media screen was warmly flanked by sparkling pinky-red voile swagged curtains, and the gantries on each side were stately ‘royal balconies’ overhung with rich red velvet swags.   Linking the upper and lower stages the two staircases had their triangular sides filled with a stained-glass window effect.  Like the top screen, those at the sides showed views of the castle of Arendelle, and a theme of picture frames was apparent, surrounding each of these lower screens and in arrangements of differing sizes as decoration on the six black wings, as well as backing the high performance gantries.  Full length frames ‘for the family portraits’ stood upstage completing the opening presentation.  The sisters’ miniature beds with padded headboards were perfect for them to lie curled up for a few minutes before playing, and a wicker toy chest housed a mini Olaf, before a wheeled wooden palace door allowed a clever swap of young Anna to middle Anna when it spun around and the girls changed places.  As Elsa’s powers froze the landscape, changes were effected, not only by varied media images, but also by spinning the black wings with gilded frames to white wings with silver frosted frames. Snow white swags were thrown over the top of the red velvet balconies.  The wonderfully detailed Wandering Oaken’s trading truck opened to reveal an entertaining selection of varied contents on shelves and hooks.  There were ample ways on and off the two stage levels and the gantries, including steps up from the auditorium floor and all were used, plus a surprise appearance of the Hidden Folk from the ‘windows’ at the sides of the steps, so that entrances and exits were swift and tidy with no queueing. By keeping the set and its additions to the minimum the working area was maintained as a space that could be filled with action and the many company numbers were accommodated easily.  The musical backing seemed to be in good balance with the vocals from where I was sitting and there was some impressive singing with countermelodies and harmonies that were well rehearsed.  Baskets of flowers and skipping ropes were put to good use as the ensemble of townsfolk mingled with the audience and played on stage in the preamble, successfully drawing the attention of the audience to the impending start of the show.  Many props were carefully integrated into the choreography and the dancers manhandled them without obstructing their own or others’ movements.  Prominent in the props/costume department were the two puppets of Sven and Olaf, both semi-costume as the reindeer and snowman blended with the handler.    Nothing in the programme identifies whether they were hired in or made in-house but each gave a good ‘cartoon-like’ representation of the animated character - with googly eyes, grotesquely enlarged teeth, fur or cotton wool bodies and with brown paper antlers or twiggy arms they came to life in the hands of their operators.  

As a company Kidz has access to a vast wardrobe of costumes gathered over the years and so we expect to see a fine display!  The dresses of the Annas and Elsas were charmingly adapted to replicate the expectations of anyone familiar with the film and maintained their colour schemes as they became older, the shades of blue and turquoise for Elsa and more greenish tones for Anna.  The long, long magenta cloak worn by Elsa for her coronation was handled extremely well as she went up and down the staircase and she managed kneeling and standing again in a masterly fashion.  The transformation into her beautiful shimmering Let It Go gown with glitter ankle boots was brilliantly magical - both the gown itself and the instant effect.   Most spectacularly eye-catching was the beach dream of Olaf in blinding neon colours, shocking pink and vermillion clashing crazily, and accessorised with sun visors, beach hats and flowery swimming caps to create a vivid scene.  

Clever casting to start with and a close and dedicated production team in attendance are the prime skills in abundance here.  The MTI script gives little in the way of guidance and the show is published as being one hour long so a huge amount of work goes into the decisions for staging it to provide an entertainment that gives value for money.  We heard expressive vocals and melodic singing and much of it delivered while dancing at the same time, which speaks of productive rehearsal time. Every possible entrance to the stage was exploited and the availability of a trap door gave the perfect feasibility to effect a magnificent transformation moment as Elsa’s dress disappeared in a heartbeat revealing her icy majesty.  Tableaux and dance routines were able to use the different levels so that even with a full stage every performer could be seen and his/her work appreciated.  Transitions between scenes were smoothly executed and a good pace was maintained, evidence of careful coaching.  The entire show was a visual and aural treat greatly appreciated by the full house.

 It is always such a pleasure to watch the growth and development of these young people who are confidently displaying the fruits of years of careful nurturing under the company’s experienced founder. 

© NODA CIO. All rights reserved.