OGDEN — The Ziegfeld Theater’s production of Frozen: The Broadway Musical directed by Kyle Esposito delivers a delightful and enchanting escape, especially for the young fans of Elsa and Anna. Adapted and expanded from the popular 2013 Disney animated film by original creators Jennifer Lee (Book) and Kristen Anderson-Lopez and Robert Lopez (Music and Lyrics), Frozen is the tale of the two sisters, princesses of Arendelle. Elsa, born with magic ice powers, is separated from her sister Anna after an accident to keep her powers secret. On coronation day, the secret is revealed to everyone with disastrous effects, Elsa flees, and Anna journeys to find her sister and bring her home.
Performances: The Sisters
Without a doubt, the strongest element of the production is its leading duo, played on opening night by Taylore Cahoon as Elsa and Sydney McAlister as Anna. The emotional anchor of the entire story relies on the audience longing for these two sisters to reconcile and thaw their icy divide. There is simply nothing better than when both Elsa and Anna share the stage.
Cahoon is beautifully restrained, portraying an Elsa who grows progressively broken by a lack of control as her powers weigh on her. Her composure during “Dangerous to Dream” is heartbreakingly sad. But when Elsa arrives at her isolated mountain lair, Cahoon truly shines. Her performance of “Let It Go” stands as a production highlight closing Act One, her vocals perfectly capturing an exhilarating freedom from fear. Cahoon then shifts back to despair upon hearing Arendelle is freezing. Cahoon displays heart wrenching grief and loss, especially against McAlister’s optimistic: “You can just unfreeze it.”
That sharp contrast defines the emotional heart of the show. Sydney McAlister is well matched contrasting Cahoon’s gravity with her own boundless joy, brightness, and enthusiasm. McAlister’s joy is tangible during “For the First Time in Forever”—she prances, leaps, and spins, completely reveling in the moment. Her facial expressions are exaggerated and perfect for a sheltered princess desperate for adventure and connection.
Additional Performance Highlights
Nowhere is this truer than in her duet with Hans, played by Gavin Jensen. In “Love Is an Open Door,” both actors showcase a delightful connection as overlooked, forgotten younger siblings. This number establishes a fantastic foundation for Hans, who genuinely seems to connect with Anna before making an opportunistic, power-hungry leap into villainy. Jensen’s performance during each reprise of “Hans of the Southern Isles” captures this shift and choice to seize power, offering a stark contrast to Anna’s unceasing loyalty.
Peyton Alger brings Olaf to life using a wonderful puppet designed by Jake Larrabee. Alger portrays the perfect little snowman who embodies the childhood memories of the estranged sisters. Alger is a master of comedic timing, injecting a massive burst of life into the second act. His rendition of “In Summer” plays out like a sunny little postcard of pure joy.
A musical highlight is the gorgeous quintet prior to the coronation, featuring five singers bathed in moody lighting and deep shadows with Elsa illuminated backstage. The bass vocals are particularly impressive. This small group ensemble showcases flawlessly blended voices creating haunting, evocative music perfectly suited for the gravity of Elsa’s coronation.
While plot fairly tracks the animated film, audiences might be surprised by the number “Hygge.” Set at Oaken’s sauna, the ensemble exits the steam room wearing only modestly wrapped towels. While undergarments are seen underneath, the implication of nudity can be a bit shocking for a first time viewer.
Technical Magic
Frozen is a technically ambitious show utilizing a blend of digital projections by designer Troy Martell and physical set pieces designed by Erica Choffel. The primary set piece is twin large staircases which rotate to portray everything from mountain ranges, a castle, a ship and Oaken’s sauna. These flexible set elements easily distinguish different settings and add elevation to the staging. Nice effects from stage lighting by Keely Parry bring the physical elements of Elsa’s ice magic to life with assistance from special effects like sparklers, stage fog, and snow (soap bubbles) .
The costuming decisions by designers Maria Menlove and Karly Van Komen are stunning. Texture is used brilliantly across the board in the lead characters, villagers’ costumes and even the emergency blankets. There is great intricate details in the Hidden Folk costumes, incorporating rich textures and natural elements like moss, fuzz, and leaves layered over detailed patterns. This attention to detail extends to the reindeer Sven, played by Aurora Bailey, who skillfully embodies the character using modified arm and leg supports creating a four legged look that still allows Bailey’s facial reactions to be seen.
The completely white wardrobe for the finale number, “Colder by the Minute,” is stunning. Having the ensemble portray the physical storm in collaboration with choreographer Paige Andreasen as they sing and react to Elsa’s chaotic emotions is an incredibly effective choice. Bathing the all-white ensemble in red lighting perfectly visualizes Elsa’s collapsing composure. By this point, even Anna is entirely in white, including a white wig as the freeze sets in. This dramatic color drain heightens the stakes for Anna’s ultimate sacrifice, making the emotional payoff land beautifully.
A Technical Transformation
The biggest issue with the production I saw on opening night lies in its technical execution with microphones and sound mixing.
The mics cut out several times during the opening number. Though they stabilized through most of Act I, entering performers were occasionally unamplified. The backing music sometimes overpowered the cast while the mic was spotty. During “Hygge,” it was incredibly difficult to hear Oaken through his thick accent and a bad mic. Other audio issues compounded: a hot mic backstage bled into the theater during “Kristoff’s Lullaby,” Prince Hans’s microphone was off entirely during his final call to find Elsa, and his mic was left on broadcasting backstage chatter as “Colder By the Minute” began. Additionally, the digital projections suffered from formatting glitches and noticeable delays. These technical hiccups impacted aspects of the production’s pacing and energy on opening night.
I chose to purchase tickets for Saturday evening attending with my four-year old daughter who I felt would enjoy the production. The technical issues were either entirely resolved or vastly milder. Free from tech issues, the second act felt much stronger and polished. The humorous beats landed so much better, especially Ryan Gorsline’s Oaken during “Hygge”. Similarly, Aidan Mackay’s performance of “Kristoff’s Lullaby” carried emotional weight, highlighting his excellent vocal performance. I highly applaud the cast, crew, and board operators Colton Kraus and Jaxon Brown for making such a massive, rapid turnaround.
Conclusion
The Ziegfeld Theater’s production of Frozen has a lot of charm and magic. Overall, the production has endearing and sincere performances and I marvel at how much the production improved technically. It was a wonderful night of theater for my young daughters (four and six years old), as I expect it will be for many young fans of the popular, catchy film. For my daughters, who love Elsa and Anna, the true magic is watching favorite animated characters step right out of the screen. The pure belief and imagination of a young child is a beautiful thing to witness—and the magic of live performance is the truest magic on the stage.
SHOW INFO: Frozen: The Broadway Musical plays Mondays, Fridays and Saturdays at 7:30 PM, with Saturday matinees at 2pm through July 4th at the Ziegfeld Theater (3934 S Washington Blvd Ogden, Utah). Additional performance Thursday July 2nd at 7:30pm. Tickets are $26.95 (Tickets for Children 4-17, Students, and Seniors 65+ are $24.95). For more information, visit zigarts.com.