DISNEY’S FROZEN

But it is revolutionary, in its own way, for a Disney musical. You have princesses wearing pants, for example. But more importantly, you have a princess story where the goal is NOT the princess getting the prince. In fact, the prince is a cad. The true love in this story is the one between the sisters. It is that “true loves kiss” that moves the story forward (and sorry for the spoiler if you haven’t seen the movie). There are some who believe that this story even has a lesbian subtext. I don’t see that — neither sister seems to express a strong sexual desire towards anyone, so this could be asexual at best. But it is a strong story based on the sibling bond, and that’s something you don’t see in Disney that often. That could be one reason why shows like Frozen and Wicked have such a strong following from young women: they center on relationships between women that are/love each other as sisters, and that aren’t centered around the men on the periphery. That’s a message of female empowerment, something that is decidedly not the Disney of Yore.

The direction by Michael Grandage is pedestrian and uninspiring. Rob Ashford’s overly athletic choreography consists mostly of twirling and lifting...Magic is what is lacking throughout much of this production.

Though the entire cast and crew [...] do justice to this ambitious production, it's the statuesque Bowman, with her commanding voice and presence, together with the vivid and spirited Innerbichler who carry the show to a fierce level.

This is Disney's answer to Wicked, which is a show I much prefer musically. However, the performances are wonderful, there is much heart, and if you are in to technology and special effects, Frozen is a winner.

But ultimately, as the Disney Theatrical productions go, Frozen falls solidly in the middle of the pack. It does not elevate the source material the way The Lion King managed to, nor is it a cringe-worthy disaster like The Little Mermaid. It is just magical, enchanting fun, and by the time “snow” falls on the audience at the end, you will not be able to wipe the smile off your face.

Through smart cuts and additions, a little Disney magic and ongoing tweaks, the tale of sisters Elsa and Anna in search of one another finally lands in a way that a commercial blockbuster should.

With so many movies-turned-musicals on Broadway these days, it’s reasonable to be skeptical of yet another obvious cash grab. Is this one? Of course. But when it comes to sheer entertainment and spectacle, it delivers, even with the high bar set for it.

The 2018 Broadway musical “Frozen,” in its national tour, just might melt the hearts of even the most hardened theatergoers at the Pantages.

It’s not flawless, but it’s surprisingly deep, sweetly romantic, visually opulent and plentifully humorous.

Inevitable qualifications aside, the North American tour is irresistible in its creativity and verve, seeking and often discovering the right balance between re-creation and innovation.

Okay, so I loved it. Maybe I have a higher tolerance for Gooey Goodie this close to the holidays, but I found this stage adaptation of the megahit animated movie more than visually dazzling—which indeed it is. It features a charming book by Jennifer Lee that compliments the disneyfication of the Pantages for the production and makes it far more palpable than Miss Poppins’ spoonful of sugar or that annoying genie singing that I ain’t never had a friend like him. And the dazzling part: Good Goddess Terpsichore, is there anything the folks at Disney Theatrical Group can’t conjure live right before our eyes?

Now at the Pantages until Feb. 2, 2020, the music and lyrics by wife and husband duo, Kristen Anderson-Lopez and Robert Lopez are catchy, especially the precious song “Do You Want To Build A Snowman,” and later their new song “I Can’t Lose You.”