Photos by Mark Velasquez
When I was 13, I watched the movie Frozen with my sister as soon as it hit theatres. Naturally, as the younger sibling, I wore Anna’s twin braids, and she wore Elsa’s single side braid. We were ecstatic to finally get a Disney movie about sisters. It was everything we had dreamed of: whimsical, exciting, and heartwarming.
Twelve years later, I did not expect PCPA’s production of Frozen The Broadway Musical to have the same impact.
I could not have been more wrong.
I returned to the kingdom of Arendelle to see the story of Anna (Molly Dobbs) and Elsa (Lesley McKinnell), two sisters torn apart by Elsa’s dangerous magical powers. I was greeted with a dazzling, passionate production featuring beautiful sets and costumes and a stand-out cast.
The stage show provides deeper insight into Elsa’s inner world with two solo numbers that aren’t in the film.”
Most surprisingly, directors Mark Booher and Keenon Hooks bring out impressive nuance in Elsa and Anna, adding dimension to the characters that elevate their individual motivations and their sisterly dynamic.
An amateurish rendition of Frozen could easily have depicted Elsa as stony and unrelatable, and Anna as an overly optimistic airhead. Both actors avoid these pitfalls, providing the characters with more dimension than in the original film.
Despite her powers and title, Elsa is no ice queen. McKinnell brings an unexpected softness to the role, playing up Elsa’s earnest desire to connect with her sister despite their separation. The stage show provides deeper insight into Elsa’s inner world with two solo numbers that aren’t in the film: “Dangerous to Dream” and “Monster.” Music director Jake Cannon has helped McKinnell take full advantage of the added songs.
“Dangerous to Dream” shows Elsa’s desire for and fear of connection. McKinnell imbues every lyric with love and hope, which makes her constant flight from Anna not just forgivable but tragic. The number ends with her coronation. The joy on McKinnell’s face makes the audience want to see Elsa allowed more moments of bliss.
Act II’s “Monster” is a powerhouse number. McKinnell combines crystal-clear vocals with impressive acting chops. The song is a noteworthy departure from the film, allowing Elsa substantially more agency. Seeing Elsa’s softer side in earlier scenes make this passionate and decisive performance even more empowering.
Where McKinnell smooths Elsa’s edges, Dobbs sharpens Anna, making her feel unexpectedly real. Anna might be a quintessential Disney princess: sweet, bubbly and wholesome—at her core, however, she is also a young woman wondering why she is forced to spend her life alone.
Dobbs weaves this trauma into her performance with subtlety, allowing moments of bitterness to slip in through the sugary-sweet dialogue. In “For the First Time in Forever,” Anna imagines laughing and talking all evening with a man, describing it as “nothing like the life I’ve led so far.” Dobbs performs this line with an expression of genuine sorrow. What could be a throwaway moment reminds you of the life that Anna has been denied.
This complex performance makes Anna more relatable, and it makes her a more compelling protagonist. Everyone wants to root for someone who pushes through pain, and Dobbs’ Anna does just that. She sings and dances with spirit and charisma, but she also shows vulnerability when the moment calls for it. This leads to fantastic, emotionally charged scenes with Elsa.
Every time they clash, Dobbs shows a combination of anger and sorrow, reminding the audience of the neglect Anna has endured. It is a deft performance coupled with strong vocals and real star power.
Across the board, the ensemble delights with captivating vocals and lively, entertaining dance numbers.”
Despite the focus on sisterly relationships, Frozen sparkles with romance. Hans of the Southern Isles (Alexander Pimentel) is the ideal Disney prince: charming, graceful and romantic. Pimentel gives a swoonworthy performance, temporarily shutting off the part of your brain that knows Anna shouldn’t marry a man she just met.
Kristoff (Jesse Graham) provides the perfect contrast. He is snarky yet instantly lovable. Graham and Dobbs have a winning rom-com chemistry that brings a perfect romantic thread to this non-traditional love story.
While this production adds dimension to the more serious elements of Anna and Elsa’s relationship, it never forgets to showcase the levity that an audience wants from a family show.
Two comedic stand-outs are Olaf (Mike Fiore) and the Duke of Weselton (Ryan Castellino). Fiore thrives at the intimidating task of providing a hilarious vocal performance while expertly puppeteering a snowman (with help from puppet director Joe Gallina). Castellino is a fantastic comedic villain. His performance feels like a cartoon come to life in the best possible way, providing a reprieve from the heavier content.
Across the board, the ensemble delights with captivating vocals and lively, entertaining dance numbers (Hooks also serves as choreographer). Young Elsa and Anna (Trinity Grace Dodson and Cambrie Heckathorn for the November 7 performance) open the show with charm and energy, immediately making the audience care about the lead characters.
Fiore and Christen Celaya also turn out powerful performances as King Agnarr and Queen Iduna, showing the misguided parenting that led to Elsa’s fear. Erik Stein and Kitty Balay bring a regal yet whimsical take on Pabbie and Bulda, the leaders of the Hidden Folk.
One of the struggles of adapting a film for the stage, especially a lush, high-budget animated feature, is establishing an equally strong sense of place. Here the sets, costumes, and production shine. The beautiful Norwegian-inspired costumes bring the fictional kingdom of Arendelle to life, grounding viewers in a sense of cultural identity.
The most memorable costumes belong to the Hidden Folk, a mysterious people with a strong connection to natural magic who replace the rock trolls from the film. Their aesthetic is positively stunning. The queen of the Hidden Folk dons a dress spilling over with autumn leaves. The bewitching design suggests a world of lost magic underpinning the whimsical kingdom we have come to know. Costume designer Ryan Moller gives the audience a true visual feast.
‘Frozen’ is everything you want from live theater—stunning production values, heartfelt performances, and a fresh take on a classic story.”
In every element of its design, PCPA’s Frozen reminds the audience that they are in a fairy tale. Elsa is crowned while wearing a resplendent jewel-toned gown. Snow falls from the ceiling into the audience. Heck, seagulls even tap dance!
The creative team, including scenic designer Jason Bolen, lighting designer Michael Palumbo, sound designer Jon Zielke, media designer Kaelen Novak, and stage manager Jack D. Miles, makes these effects look easy, but they must have required tremendous effort.
Frozen The Broadway Musical is everything you want from live theater—stunning production values, heartfelt performances, and a fresh take on a classic story. If you visit the kingdom of Arendelle, prepare to laugh and prepare to feel. This production will melt your heart.