Review: A Delightful (and Darker) 'Frozen' Is Meant for Fans

"Frozen" the musical is not so different from "Frozen" the movie, which means that whether you'll love it depends a lot on whether the Disney film is one of your favorites.

Most of the story, written by Jennifer Lee (she also wrote the film), will be warmly familiar. There are two princesses, Anna (Patti Murin) and Elsa (Caissie Levy), who grow up separated because of Elsa's magical powers; when those powers are revealed, Elsa runs away and Anna sets off on a journey to bring her home.

There are the sidekicks, Sven the reindeer (a magical puppet/costume with dancer Andrew Pirozzi inside) and Olaf the snowman (also a puppet, though actor Greg Hildreth is fully visible). And it wouldn't be "Frozen" without a bring-down-the-house version of "Let It Go," complete with a lightning-quick, how-did-they-do-that, costume change. 

But it's not a carbon copy of the film. There aren't trolls and I miss them. The rollicking song "Fixer Upper" is included, but is sung by the more somber, athletic, "hidden folk" — half naked people with tails. There's also no ice monster, which some kids will miss, or a sled for Kristoff, or the Weselton chicken dance. And there's no playing around between Sven and Olaf. In other words, much of the quirky charm of the film is missing, which can make the musical feel lumbering at times.

There are, however, some delightful additions. The second act starts with a song, "Hygge," about the coziness of friends and family, sung by Oaken, who runs a mountain trading post. His friends and family tumble out of a sauna in towels, using birch branches to cover their bodies as if they are doing an old-fashioned fan dance. 

And something I especially appreciate about Disney theatrical productions is here as well: racial diversity in casting, including in the ensemble. It is rare on Broadway and should be applauded.

Most of the 12 new songs written by Kristen Anderson-Lopez and Robert Lopez are introspective and dark, and meant to deepen our understanding of the characters. The most moving of these is Anna's "True Love" in which she blames a fairy tale-understanding of love for shattering her dreams (listen to it here):

"And here I am in this room again
Just as lost and small
That lonely girl with a desperate heart
Is who I am after all
There's no escaping her
But now the dream is gone
Because I spent a lifetime
Counting on true love"

All that additional angst (and be warned, parents, there's a lot of it in the second act) is counteracted almost single-handedly by Murin. She brings a heightened sweetness and goofiness to Anna. She eclipses Elsa, because her character is so vibrant and grounded — and her interior journey, from someone who is desperate to be noticed to someone who is able to recognize the love she already has, will resonate with anyone who's grown up through adolescence to become an adult. When the production veers too far into melancholy, she rescues it with her verve and transparent joy. 

There's so much else that does work in the show. The sets are ravishing. Some of the effects — like pointed ice spears that jam up through the stage, and twinkling crystal curtains — are spectacular. And the original songs are workhorses, just as catchy and plot-propelling as they were in the film. 

Invariably, "Frozen" is going to be compared to other Disney theater properties like "The Lion King." But it's more like "Beauty and the Beast" — a work that captures a lot of what was delightful about the film, while giving us a bit more to think about. It's lovely and if you're a fan, don't let it go.

"Frozen" at the St. James Theatre.  Book by Jennifer Lee, words and music by Kristen Anderson-Lopez and Robert Lopez. Directed by Michael Grandage. Choreography by Rob Ashford.