Theatre Raleigh ACT's Production of Disney's "Frozen" is a Wonderful Winter Treat

The Disney film Frozen, released in 2013, took the world by (winter) storm. Its tale of two princess sisters, Anna and Elsa, and one incredible journey to reclaim a lost relationship quickly became a favorite among kids and adults, due largely to its charming, empowering story, loosely inspired by Hans Christian Andersen’s “The Snow Queen,” catchy songs, and star-studded cast. All of those great elements are present and accounted for in the musical version, onstage now as part of Theatre Raleigh ACT’s youth theatre series. Featuring a book by Jennifer Lee, music and lyrics by Kristen Anderson-Lopez and Robert Lopez, precise direction from Blaire Thompson, and skillful musical direction from Lauren Tompkins Yates, this musical pulls out all the stops of a Broadway production. 

And, just like on Broadway, opening night was filled with festive excitement. Young audience members were clad in their best “Elsa” costumes, and guests could treat themselves to Frozen-inspired snacks and souvenirs. Inside the theater, however, the wintry, foggy world of Arendelle awaited.

As the show began—after a delightfully peppy pre-show intro from Olaf, Anna and Elsa’s snowman friend—magical moving backgrounds and pretty hand-painted set pieces revealed themselves and brought the story’s Norway-like landscape to life.

At the start, Anna and Elsa are just young children, respectively portrayed by Avery Gard and Emma Marsteller. They share a close bond, cheekily represented through Tim Malboeuf’s  (choreographer) and Molly Damar’s (associate choreographer) clapping choreography and the young actors’ sweet, playful chemistry. As young Anna, Gard is oh-so-spunky and endearing, and she bounces (literally) off of Marsteller’s quieter portrayal. When Elsa’s magical powers accidentally injure Anna, however, Marsteller depicts Elsa’s pain in a believable, heartwrenching way.

It is these opening moments which set the stage for the rest of the story, one in which Elsa and Anna must stay apart, and in which each grows increasingly lonely and distant, both from one another and from their true selves and strengths. Their lives take an even darker turn when they lose their parents, a sad moment that is rendered beautiful by Malboeuf’s choreography. The parents (Pippa Zwirschitz and Allen Bailey) are whisked away by a swirling, dancing “sea” made up of slow, lyrical motions that evoke the earth-stopping feeling of loss.

While there is some very real sadness mixed into this fairytale, there is also plenty of joy, including a large-scale “official” opening number that involves the huge cast and showcases its immense dancing talent. This same dance-infused energy is also visible in the fun second act opener, “Hygge,” led by Oaken, adorably portrayed by a bubbly Bailey Baker. In this number, bathrobe-clad cast members rush in and out of a spa, form an impressive and impeccable kickline, and infuse the production with a delightful ebullience.

But, before all that second-act joy, audiences are introduced to the older Elsa (Madeline Campbell) and Anna (Ella Grace Laurel). This “introduction” comes in the form of the sudden chiming of adult Anna’s voice, which is startlingly clear, mature, and lovely. Laurel proves herself to be a show stealer from these very first moments and onward. From getting dressed in her coronation gear (and changing her fabulous wig), all while singing and without missing a beat, to falling hopelessly in love with the dashing Prince Hans (Kirk Baron), Laurel exudes all the comic charm of a young Bette Midler and the extreme likeability of Anna Kendrick at the top of her game. There is never a moment when she isn’t “on.” Her over-the-top faces and stellar sense of timing carry a large bulk of the show’s humor. 

As Anna’s older sister and now queen, Elsa has a heavy burden to carry, but Campbell is up for the challenge. Often somber but exuding a quiet strength, she carries the role with the emotional depth required, delivering an impassioned “Let It Go” and sharing a complex chemistry with Laurel. Together, the two absolutely nail the emotional “I Can’t Lose You” number that solidifies their sisterly bond. And, speaking of musical numbers, there are so many great ones to celebrate. Standouts include Baron and Laurel’s jovial delivery of “Love Is An Open Door” and the fun “Fixer Upper” song, which features a delightful baby troll (Samantha Shoaf) doing some impressive acrobatic feats that allow her to float and fly like magic.

Credit must also be paid to Cameron Orcutt for his oh-so-weasely portrayal of the Duke of Weselton and to Noah Bailey’s take on the delusional-but-sweet Olaf. Bailey juggles singing, dancing, and puppeteering without a hitch and exhibits top-notch comedic timing. Props also go to super-charmer Elijah Gordon as the rough-around-the-edges but kindly Kristoff and, of course, to his reindeer, Sven, portrayed by a stilt-walking, stoic-faced Natalie Ross.

The entire cast is aided by Kishara McKnight’s fabulous, glittering costumes and Darby Madewell’s lighting effects. Lights race overhead, skitter across the stage, and spotlight each performer beautifully at key moments. Every effect and detail has been handled with great care, and it definitely shows. Furthermore, this production is really a rare treat, not to mention a perfect complement to Theatre Raleigh’s mainstage production of Once on This Island, also inspired by an Andersen fairytale.

It’s not often that viewers get to see a large-scale musical production in an intimate setting, but that’s exactly what they get here. They get to hear every word, see every effect up close, and fully engage with the characters in a powerful way. Plus, a wonderfully positive and encouraging atmosphere pervades the entire production. It’s the kind of atmosphere that should exist at every show but that can be found in wonderful abundance at this one in particular.

It cannot be stressed enough that this isn’t just “youth theatre.” It’s professional-level theatre that just happens to be carried out by young performers. The feat they’ve pulled off, backed by the incredible support of the creative team, is admirable, impressive, and inspiring. They’ve created the type of theatre that’s fun to watch and that inspires faith in the future of the performing arts.

Performances are currently sold out, but show and waitlist information is available here. 

-Susie Potter