Tag Archives: Peter Hylenski

FROZEN THE MUSICAL

★★★★

Disney+

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

FROZEN

FROZEN

Moulin Rouge!

Moulin Rouge! The Musical

★★★

Piccadilly Theatre

Moulin Rouge!

Moulin Rouge! The Musical

Piccadilly Theatre

Reviewed – 20th January 2022

★★★

 

“this would make a really fun proper knees-up sing-along if that’s the direction they wanted to go in”

 

When Moulin Rouge was released in 2001 it put its very best foot forward with an absolute dream team of Baz Luhrmann, Craig Pearce, Craig Armstrong, Ewan McGregor, Nicole Kidman, Jim Broadbent, John Leguizamo, and Richard Roxburgh to name a few. For goodness sake, even Kylie Minogue featured for a second (“I’m a green fairy!”) Not only that, but it apparently took Luhrmann over two years to gain the rights to the most carefully curated track list, featuring some of the biggest songs of the century. So, with all that in mind, Moulin Rouge: The Musical faces a tremendous amount of pressure. How on earth could you make a version of a Baz Luhrmann production and make it better, even make it just as good?

Filing into the theatre, the staging already promises a lot, with tens of floor-to-ceiling light-encrusted ruby red hearts sitting nestled within one another; an enormous adorned elephant bedecks the royal box, and opposite, the iconic windmill spinning lazily. Emblazoned in bright lights across the front of the stage, ‘MOULIN ROUGE’. As the audience shuffles past one another, holding plastic cups of wine, taking off their giant winter coats and shoving them under their chairs, dancers move in seductive slow-motion across the stage and around the front rows, in encrusted velvet corsets and top hats, crescendoing with two low-key sword swallowers before its even begun. It’s all very alluring, and the first song, ‘Lady Marmalade’ is the perfect smutty number to introduce us properly, filthy-sexy and so much fun.

But as the play unfolds, unfortunately it doesn’t quite keep up, with some songs merely echoing the film’s outrageous performances, and others bizarrely saccharine or, quite frankly, just not good enough.

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It’s a strange beast in that it doesn’t quite know what it is. On the one hand, Derek McLane’s gloriously over-the-top, no-holds-barred stage design, and Catherine Zuber’s saucy, sexy, sometimes lurid, sometimes lavish costumes are the stuff of the very highest production value. On the other hand, there’s something disturbingly panto about some of the performances, the leads feel a bit- dare I say it- Disney in their wholesome asexual chemistry, and the additional songs not included in the movie are presented like a sing-along; rather than being cleverly and carefully chosen and then moulded to suit the story’s palette, they seem to clash. In the second half, for example, the morning after Satine has had to break Christian’s heart and pretend she doesn’t love him because otherwise the Duke’s going to have him murdered; it’s a pretty tense and heavy moment. Christian starts singing Adele’s ‘Rolling in the Deep’ with all the melodrama of a fourteen-year-old Glee member, and the audience takes their cue and joins in! Not only are they clapping along, they’re bloody singing! At near on the saddest part of the whole story.

That’s not to say there aren’t flashes of flamboyant ecstasy: Clive Carter’s Harold Zidler, despite doing a sort of impression of Jim Broadbent’s performance, is delightfully sinister and scornful, and contributes a slightly different flavour to the complicated character.

The end of the Elephant Medley is pretty spectacular, Satine’s room spinning to reveal a starlit night sky, the Eiffel tower being rolled on by eight extra dancers, and quick sparkling costume changes for both leads as they climb the miniature landmark. Two aerialists spin elegantly from the ceiling as Satine and Christian sing the last high notes together, “How wonderful life is now you’re in the world”, and the chorus stares lovingly on. It’s just so ridiculously excessive, I love it.

I think this would make a really fun proper knees-up sing-along if that’s the direction they wanted to go in; a great night out with the girls, belting ‘Baby you’re a firework’ and ‘Single Ladies’.

Alternatively, it could do what it looks like it should and be properly debaucherous and depraved, and the subject handled with a lot more grit and seriousness. I don’t want to hear Satine saying “I can’t go back to the streets!” and Christian responding with a fatuous “Then come with me to the stars!” Dude, she’s talking about a life of prostitution and homelessness. What are you talking about??

 

Reviewed by Miriam Sallon

Photography by Matt Crockett

 


Moulin Rouge! The Musical

Piccadilly Theatre until May 2022

 

 

 

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