Frozen-The West End Musical

As I took my seat, I was immediately struck by the high-quality scenic projection of the Frozen logo, dominating the rear of the stage and extending right across to the side panels. The stage at Fakenham Community Hall is exceptionally wide, creating a hugely impressive visual. With its raked seating and the seven-piece orchestra positioned directly in front of the stage, it genuinely felt as though we were in a professional theatre rather than a community hall. Led by MD Jo Kemp, the orchestra sounded magnificent.

As the show progressed, the stunning scenic projections that carried us seamlessly from scene to scene were a particular highlight. Combined with some beautifully constructed in-house set pieces—such as Oaken’s store and the staircase for Elsa’s ascent at the end of Act One—they added tremendous depth and perspective to the production. There were also numerous thoughtful touches, including the effect of ice falling from above, the use of dry ice, and the magical on-stage transformation of Elsa into her teal-coloured dress during “Let It Go” at the close of Act One. Costumes, sound, and lighting throughout were outstanding. The choreography (Danielle Standing and Paula Graver) had been superbly imagined and delivered throughout.

As the performance continued, I glanced around at the many young children in the audience, some dressed as princesses for the occasion. They were utterly mesmerised by the magic unfolding before them, which was genuinely moving to witness. There was a palpable sense throughout the auditorium that everyone, young and old alike, was completely captivated from beginning to end.

All of this magic was finished off by the wonderful cast and company that had been assembled, with so many standouts that it is difficult to single out individuals. Frozen opens with Anna and Elsa as young children, portrayed through beautifully crafted puppets created by Doreen Atkins. These were expertly brought to life by Caitlin Tuck as Young Elsa and Isabella Anderbjork as Anna, who skilfully operated the puppets while simultaneously delivering both the dialogue and vocals. The effect worked exceptionally well, enhancing the storytelling and adding an extra layer of enchantment to the fairytale atmosphere.

As King Agnaar and Queen Iduna, Michael Silvester and Theresa May were very warm characterisations. I also liked Trevor Key’s comical but conniving and pompous Duke of Weselton, suitably put down as the “Duke of Weaseltown” on numerous occasions. Victoria Perryman and Alex Chidichimo were also well cast, leading the “Hidden People,” as Bulda and Pabbie, with presence and charm. Tom Bailey brought a lot of humour into the role of Oaken and led a very enjoyable company number of “Hygge” at the beginning of Act Two.

The puppets of Sven and Olaf had been brought in from another company who had recently performed Frozen, and they were amazing. However, a puppet needs bringing to life, and I was transfixed by the operators of these, Chloe Register, as Sven, and Luke Morgan, as Olaf. I really don’t know how Chloe managed to move around inside and flexibly operate the Sven puppet, but manage it she did, a remarkable performance. As for Olaf, Luke was so in sync and in unison with the puppet with his own characterisation and facial expressions, that at times it was as though the puppet was real.

Co-director Ben Francis brought a wealth of experience to the role of Kristoff, while Thomas Semmons, with his strong baritone vocals, made a memorable impression as Hans.

Lucy Hunt and Annabel Nash, as Anna and Elsa, were both outstanding as the two sisters, bringing warmth and a genuine connection that lay at the heart of the production. Their performances beautifully captured the evolving relationship between the siblings.

Vocally, both performers were exceptional. Lucy Hunt brought energy and charm to Anna, particularly in “For the First Time in Forever.” Annabel Nash’s Elsa was a commanding presence, her powerful, controlled vocals building to a captivating “Let It Go,” which, combined with the stunning staging, was a highlight of the production.

A special mention must go to the rest of the company, who, whilst on stage, never switched off. The amount of work that must have gone into this production was on show for all to see.

My congratulations to Co-Directors Paula Graver and Ben Francis, and thanks to all at FADLOS on a brilliant production.

 

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