FROZEN THE MUSICAL

Disney+

★★★★

“the most important thing is that it is joyously fun”

A queen who accidentally plunges Arendelle into an eternal winter, with her secret powers. The quest of her sister to find her and save their kingdom. This is the story you all know but as you’ve never seen it before. Filmed at London’s grand Theatre Royal Drury Lane, Frozen The Musical is an astonishing production that brings the songs, sorcery and wonders of the phenomenon movie to the stage, without losing any of the drama or magic of the original.

At the beginning of act one, a Greek chorus introduces a young Princess Elsa of Arendelle (Elizabeth Lyons) and her younger sister, Princess Anna (Martha Bailey Vine) playing in their bedroom. Anna, unaware of her sister’s magical powers is accidentally injured in the excitement, a scene which is the genesis of what is to follow. Sisters that will not see each other until the day before Elsa’s coronation due to the elder’s fear of hurting her sister. It is a magnificent opening to the show led by the two young actresses with excellent acting accompanied by harmonious vocals. It is remarkable how they own the space of the stage at such young ages. The only shame is that their parts are restricted by the narrative to just the prologue.

Years pass. The day before the coronation is where Samantha Barks and Laura Dawkes take over the roles of Elsa and Anna, respectively. The coronation passes without issue, however, Elsa unintentionally unleashes her powers in front of the gathered attendees, before running away to the North Mountain, unaware that she has left Arendelle in an eternal winter. Anna and ice harvester Kristoff set off after Elsa, leaving Anna’s fiancé Prince Hans, initially set up to be the Prince Charming of the piece, in charge of the kingdom.

The first act draws to a close with a powerful rendition of ‘Let it Go’ from Queen Elsa. Samantha Barks is an unstoppable force as the Queen, with extraordinary singing and authentic acting. The same is true of Laura Dawkes as Princess Anna, who demonstrates an astounding range of vocals and imperious performance, which retains its energy remarkably given that she remains on stage for almost all of the production.

The second act is equally enchanting, even if a little rushed at times. The musical contains twelve new songs alongside some of the classics of the original. This might be slightly too many as there is a noticeable drop in force of delivery when Elsa or Anna are not leading the songs. It also doesn’t quite give enough space to the story around the music, with the major plot twist of the show almost glossed over. This is a weakness as it is central to the resolution that then follows.

However, despite bringing the animated film to the stage, the show does not lose any of its magic. The film is emboldened by special effects which fall into place with perfect timing. These include instant costume changes and intriguing transitions between different sceneries. The production stretches what was thought possible for a live-action remake. The use of multiple camera angles brings us into the action. It does not feel like we are separated from the actors by a screen, it is as if we are a part of the action in a theatre or it is happening in our living rooms.

The direction (Michael Grandage) is pinpoint throughout and the dance choreography is flawless. The dancers add incredible depth to the songs, a feature that the film could not have achieved. However, the most important thing is that it is joyously fun in a natural way. In an age, of constant live-action remakes, this is certainly one worth seeing.

FROZEN THE MUSICAL

Available to stream on Disney+

Reviewed on 20th May 2025

by Luke Goscomb

Photography by Johan Persson © Disney

Reviews of other live theatre recorded screenings:

SIX THE MUSICAL LIVE | ★★★★ | April 2025

MACBETH | ★★★★ | January 2025

FROZEN

★★★★★

“The pitch is perfect, as is the balance of ballads and foot stompers – the ideal mixtape”

Nick Hornby’s novel, written nearly twenty-five years ago, was an instant hit capturing the mid-nineties zeitgeist when the notion that ‘boys will be boys’ was just beginning to be chipped away by the new sensibilities. This could have been a death blow for the novel, but the emotional intelligence of Hornby’s writing allowed it to endure; its success leading to the millennial film starring John Cusack and Jack Black, and eventually a stage musical. Written by David Lindsay-Abaire with music by Tom Kitt and lyrics by Amanda Green it premiered on Broadway in 2006 but closed after thirteen performances.

Paul Taylor-Mills’ production at the Turbine Theatre has successfully brought the show up to date while staying true to its roots, and it is safe to say that this sensational reinterpretation will not suffer the same fate. Writer and comedienne Vikki Stone has been brought on board to adapt the script and lyrics, relocating the action back to London and reclaiming the inherent buoyancy and playfulness of the story.

The plot focuses on Rob, the owner of a record shop in Holloway, whose girlfriend, Laura, has just left him. Obsessed with compiling lists and ‘mixtapes’, he recalls his five most memorable breakups before Laura, and eventually his self-examination leads to self-realisation and reconciliation. On paper it should be hard to like the overgrown, commitment-phobic problem child that is Rob. His dated sense of male entitlement should rub you up the wrong way in today’s climate, but Oliver Ormson’s winning performance grabs our empathy with both hands.

Supported by an outstanding cast, the laughs come thick and fast. Robbie Durham and Carl Au as Barry and Dick, the part time hired help in Rob’s record store, complement Ormson, creating a trio that could win awards if that was the goal. But there is a self-deprecatory disregard for approval that is reflected in the characters’ relish in working in a shop that has “zero growth potential”. Yet in this mannish world, the women call the shots. Shanay Holmes, as Laura, knows she has the upper hand, but Holmes underscores her fiery independence with a vulnerability that simultaneously softens and strengthens the character.

Tom Kitt’s score mixes pop with rock, heavy metal and Motown, country and soul with a seasoning of rap and R&B. It could easily be a mess but, aided by director Tom Jackson Greaves’ sharp choreography, the eclectic selection of styles has a cohesive whole. It is a feat pulled off only by the close-knit chemistry of the entire ensemble and band of musicians. The pitch is perfect, as is the balance of ballads and foot stompers – the ideal mixtape. In an age of Spotify playlists, it is refreshing to hear references to cassettes and vinyl. David Shields’ set places us in a bygone world of the record shop, before music went online. But the essential truth of music and its undeniable impact on us remains true and keeps this story relevant and timeless. “High Fidelity” is a timely boost of optimism. Rob would put it at the top of his list of reasons to be cheerful.

Reviewed by Jonathan Evans

Photography by Mark Senior

Tag Archives: Oliver Ormson

FROZEN THE MUSICAL

★★★★

Disney+

FROZEN THE MUSICAL

Disney+

★★★★

“the most important thing is that it is joyously fun”