★★★★

“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.

QUADROPHENIA, A MOD BALLET

Sadler’s Wells Theatre

★★★★★

“A truly triumphant interpretation – poignant and powerful.”

When Pete Townshend wrote the rock opera “Quadrophenia”, released back in 1973, he felt that The Who, as a band, was ‘lost’ and that the whole process of recording the double album ‘helped us find our way’ (his words). The central character is partly a reflection of this, but also a brilliant description – and representation – of the mid 1960s as seen through the eyes of a young man searching for meaning in a world filled with disillusionment. It has become a rock opera, a film and a classical opera. Now, as a ballet over half a century later, it maintains its relevance without the slightest hint of modernising it aesthetically or culturally. We are fully immersed, not just in pure nostalgia, but also the sheer beauty of the performances, the backdrop and the cinematic orchestral arrangements of the music.

Opening with crashing waves against a solitary rock, we see Jimmy alone on the outcrop, swiftly joined by his four personalities who move like the waves – like sirens luring him into the waters below. But Jimmy chooses the route back to his dissatisfied life. Paris Fitzpatrick is extraordinary as the young mod, Jimmy, barely away from the vast stage for a second, leading us and the other dancers through the tempestuous twists of his journey. The performers need little guidance, however. Each one is a leader in their own right: the Tough Guy, the Romantic or the Hypocrite; the Godfather, the Ace Face, the Mod Girl, the Rocker. Or the shell-shocked parent. Directed by Rob Ashford, every step is meticulously clear while Yeastculture.org’s panoramic video projections seamlessly carry us from place to place on Christopher Oram’s simple yet fluid set.

Steeped in symbolism, the emotional impact is compelling. We are constantly distracted from intellectual appreciation. The characterisation is as integral as the virtuosity of the dancers. When Fitzpatrick’s Jimmy meets his childhood friend (Euan Garrett), now a Rocker, the couple’s inner conflicts are vividly evoked in every movement. Paul Roberts’ choreography throughout is at once original and recognisable, athletic and intimate, violent and tender. It refuses categorisation; ballet moves swaying into jazz, contemporary, a touch of street. The impurity is vital to Roberts’ telling of the story. Jimmy’s parents, and his relationship with them, only need a few dance steps to give us the full picture. Stuart Neal and Kate Tydman – as the father and mother – attract and repel in gorgeous tarantellas, erotic and violent, bleeding into the Father’s traumatic memories of WWII (a disturbing yet perfectly glorious ensemble routine).

And, of course, we have the love interest: Serena McCall’s Mod Girl, sassy and sexy, moving within and without the yearning reach of our ‘quadrophenic’ protagonist. The charismatic rival, the Ace Face, is a constant threat – a swaggering and commanding Dan Baines, while Matthew Ball’s rock star figure, the Godfather, is a stark reminder to Jimmy never to meet your idol. A self-deprecating moment deliberately referencing The Who’s status in the seventies that has survived intact to the present day. This attention to detail surfaces in waves of nostalgia, that some may not fully appreciate. You have to be a true Londoner to feel the full dewy-eyed force of designer Oram’s recreation of Soho’s ‘New Piccadilly Café’. Authenticity is a keyword here, which is certainly amplified by Paul Smith’s sharp costumes.

The driving force is the music, orchestrated by Rachel Fuller (and Martin Batchelar). Faithful to Townshend’s original rock numbers, Fuller has scored the music for a full symphony orchestra. The electric rock rhythms of guitars and bass occasionally burst through, but elsewhere the vocal melodies and guitar solos are searing violins, aching cellos, rich double-basses or horn sections. Entirely instrumental, you can still at times hear Roger Daltrey’s voice surfing the multi-layered melody lines. Like the dancing, it is grand but far from precious. With both you could just as easily be in the Albert Hall or the sweaty dark of Wardour Street’s Marquee Club. Another landmark sadly gone. “Quadrophenia” harks back to another time that some say is long dead, but this ballet drags it alive and kicking into the present. It resonates unmistakably without any concession to the twenty-first century. It doesn’t need it. The essence is all there – in the dance and in the music.

When ‘Quadrophenia’ was first released, Pete Townshend probably had no idea of its legacy. Although he has since stated that The Who ‘never recorded anything so ambitious or audacious again’. “Quadrophenia: A Mod Ballet” is just as (maybe even more so) ambitious and audacious, even by today’s standards. A truly triumphant interpretation – poignant and powerful.

FROZEN THE MUSICAL

Disney+

★★★★

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

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:

FROZEN

FROZEN

FROZEN

QUADROPHENIA, A MOD BALLET

Sadler’s Wells Theatre

★★★★★

“A truly triumphant interpretation – poignant and powerful.”

QUADROPHENIA, A MOD BALLET

Sadler’s Wells Theatre

Reviewed on 25th June 2025

by Jonathan Evans

Photography by Johan Persson

Recently reviewed at Sadler’s Wells venues:

QUADROPHENIA

QUADROPHENIA

QUADROPHENIA

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