‘FROZEN’: (left to right) Patti Murin, Caissie Levy & Jacob Smith. Photo: Deen van Meer

FROZEN
Book by Jennifer Lee
Music & lyrics by Kristen Anderson-Lopez & Robert Lopez
Directed by Michael Grandage
Choreography by Rob Ashford
St. James Theatre
246 West 44th Street
(212-239-6200), FrozenTheMusical.com

By David NouNou

Based on Hans Christian Anderson’s The Snow Queen, Disney turned Frozen into the glorious 2013 Oscar-winning animated feature film, containing the beloved Oscar-winning song “Let It Go” sung by Idina Menzel (or, as John Travolta mangled her name at the 2014 Oscars, “Adele Dazime”). The film turned out to be the most profitable and beloved Disney animated feature in many years. So one wonders how could Disney, with all its resources and talent, take something that was so vibrant and full of color and life and turn it into such a drab stage musical?

The easiest thing would have been to take the film and with Disney’s expertise in special effects transpose it, frame by frame, to the Broadway stage. Although that may not have been too original, it would have been a marvelous feat. The story revolves around the two princesses of Arendelle: the older Elsa (Caissie Levy) who possesses magic and has the power to turn everything to ice; and the playful younger one, Anna (Patti Murin) who is at risk of being unintentionally harmed by her older sister. As children, while playing a game one night, Elsa accidentally injures Anna (Anna passes out). She is rescued by her parents who summon the Grand Pabbie (Timothy Hughes) to heal Anna thus altering her mind about what had occurred. The sisters are separated and locked up in different parts of the castle in order to prevent more harm coming to Anna.

With the demise of their parents, Elsa at 21 becomes crowned as Queen of Arendelle. The sisters reunite but no good comes of it. Anna meets Hans (John Riddle) at the coronation ball and immediately falls in love with him. She wants to marry him and asks Elsa for her approval and is denied and accidentally unleashes her powers in front of the court. Elsa flees into the Northern mountains to isolate herself from the world by building a palace of ice. Arendelle is doomed to eternal winter. Anna goes in search of Elsa, gets lost and along the way meets Kristoff (Jelani Alladin) and his reindeer Sven. They encounter the snowman Olaf (Greg Hildreth). Through their bond of friendship and love they pull their resources to find Elsa and to help Anna reconcile with her sister and discover the true meaning of love that thaws out the ice in the heart and the eternal winter.

As with any good fairy tale, the story has to be compelling, hence the huge popularity of the film. The story here is basically the same, but where did it veer off into the doldrums? The two obvious factors are the pedestrian book by Jennifer Lee, who directed and wrote the movie, and secondly the ever-so heavy, leaden direction by Michael Grandage.

In film you can write with broader strokes, so even if a line is not funny or just plain generic, there are visual treats that can mask this flaw. Stage writing has to be succinct and can’t feature sophomoric writing; it becomes cloying. However, the bigger problem here is the direction by Michael Grandage. He is a great British director who has directed such dramas as Art, for which he won a Tony, Frost/Nixon, and The Cripple of Inishmaan. So, it is with great astonishment why Mr. Grandage, best known for dramas, would be chosen as director of a family-oriented, fun Disney musical. What should have been a bright, buoyant musical entertainment just plods and plods through dark, drab and somber moments. The proceedings aren’t helped any by Rob Ashford’s listless and unimaginative choreography. Where is the brilliant and imaginative director/choreographer Casey Nicholaw when you need him? He turned Disney’s Aladdin into one of the most joyous and colorful shows in recent memory.

Ms. Levy and Ms. Murin are in fine voice as Elsa and Anna and do their best with the material they are given. I do hold a soft spot in my heart for Sven, the reindeer and Olaf, the snowman; they conveyed more humanity and reality than the real actors.

This is the one case where Disney could have learned a thing or two from Nickelodeon’s SpongeBob Squarepants, the musical currently on Broadway, directed by Tina Landau and choreographed by Christopher Gattelli. Now there is an original, colorful, buoyant and fun musical to be enjoyed by the whole family.

Edited by Scott Harrah
Published March 22, 2018
Reviewed at March 21, 2018 press preview performance.

‘FROZEN’: Caissie Levy. Photo: Deen van Meer

‘FROZEN’: Patti Murin. Photo: Deen van Meer

‘FROZEN’: Patti Murin & Caissie Levy. Photo: Deen van Meer

‘FROZEN’: Patti Murin. Photo: Deen van Meer

‘FROZEN’: Caissie Levy. Photo: Deen van Meer

‘FROZEN’: Jelani Alladin, Patti Murin & company. Photo: Deen van Meer.

‘FROZEN’: John Riddle, Robert Creighton & cast. Photo: Deen van Meer

‘FROZEN’: Jelani Alladin. Photo: Deen van Meer

‘FROZEN’: The cast. Photo: Deen van Meer

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BREAKING NEWS! ‘NEWSIES’ IS A HIT: Jeremy Jordan (center) and the cast of ‘Newsies: The Musical.’ Photo: Deen van Meer

By David NouNou

Energy abounds aplenty in this new Disney musical, thanks in large part to Alan Menken’s catchy music and Jack Feldman’s poignant lyrics; expert, fast-paced direction by Jeff Calhoun; brilliant choreography courtesy of Christopher Gattelli; and a most fascinating revolving set by Tobin Ost.The only drawback to this otherwise well-done musical is Harvey Fierstein’s middling book. He brings his usual heavy-handed, trite dialogue and often cutesy, groan-inducing lines that are neither stylistic nor realistic to the period, but are merely modern, hip phrases to which the youth of today can relate.

Based on the abysmal 1992 movie of the same name, chronicling real-life events dating back to 1899, the film starred an uncomfortable Christian Bale. In this far superior stage adaptation of the story of striking newsboys known as “newsies”
(boys who sell newspapers to make a hard-earned penny), the show works because of the tough times we live in now.

The immediacy and the intimacy are more prevalent and relevant today. Not only is this musical something to which adults can relate, but it is a Disney show that actually teaches young children important values and life lessons in an entertaining manner. This is a family show in its truest sense.

However, the real Cinderella story here is Jeremy Jordan, playing Jack Kelly, the leader of the newsies, all of whom go on strike against the Pulitzer publishing company for raising the amount of papers the boys have to sell for the same price. Mr. Jordan was in the most boring musical of 2011, the dreadful Bonnie and Clyde. He is now in the smash-hit musical of 2012.

Oh, how the fickle finger of fate can play in the gamble known as Broadway. With his big voice and charismatic charm, Mr. Jordan has a unique way of filling the stage, and for that reason alone, he will become a Broadway staple as a leading man for years to come.

In addition to all the other pleasures, there is also a romantic angle for the adults. Kara Lindsay, a charming ingénue with a lovely singing voice, plays Katherine, the love interest. She is a Turn of the Century version of Lois Lane, a “girl reporter”who writes about the newsies and brings their plight to the public while every other journalist in town refuses to cover the story.

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ARABIAN NIGHTS: Disney’s ‘Aladdin’ comes to Broadway. Photo: Deen Van Meer.

ALADDIN

Book & additional lyrics by Chad Beguelin 

Music by Alan Menken
Lyrics by Howard Ashman & Tim Rice
Based on the Disney film
Directed & choreographed by Casey Nicholaw
New Amsterdam Theatre

214 West 42nd Street, 
(866-870-2717), aladdinthemusical.com

By David NouNou

Theatergoers, be ready to welcome the next decade-long-running musical with open arms. If you have been hungry for spectacle and glitter, you have a feast in Aladdin. If you are tired of the labored, vacuous, threadbare and uninspired musicals, bring the whole family for a joyous magical carpet ride. For no one knows how to entertain and perform magic on stage like the Disney folks; and they are displaying a veritable smorgasbord for the senses.

Is it all perfect in Ali Babaland? No. The book at times is trite and some of the lines are hackneyed. The leads, Adam Jacobs (Aladdin) and Jasmine (Courtney Reed) are not awe- inspiring, but they don’t have to be; they just have to look good in their parts and be serviceable. The supporting players’ “friends” are at times hammy and should be reined in. Despite minor missteps there is a Merman/Channing diva amidst all this. We already have Mama Rose and Dolly; we can now add Genie to the roster. James Monroe Iglehart deliciously embodies him. He has the force and drive of Ethel and the zaniness and heart of Carol. What more do you need?

There is an additional plus, Jonathan Freeman (Jafar). He portrayed the voice in the 1992 animated feature of the same name. He is now in the flesh and good enough to induce hisses at curtain call. By the way, that is meant as a compliment, he is delightfully evil. Most everyone has seen “Aladdin” the movie and knows the storyline, why belabor the point? Suffice it to say it is equally enjoyable on the stage. It may not be as revolutionary as The Lion King, but is certainly as delectable as Beauty and The Beast.

The costumes by Gregg Barnes are a fashion parade unto themselves. The sets by Bob Crowley have a similarity to his Disney’s Aida and Natasha Katz’ lighting is always properly mood evoking. Casey Nicholaw, director/choreographer of such hits as The Book of Mormon and The Drowsy Chaperone, still has plenty of magic up his sleeves, but I do wish he could have put a tighter leash on some of the supporting players. In this case it’s more of a directorial issue because his choreography is still a joy to behold.

This is a show to be enjoyed as a spectacle and as a magical ride just for the sheer fun of it. When you go to Disneyland, you don’t go to nitpick some of the shortcomings of a ride. You ride them with an abandonment of a child in the body of an adult.

WISH GRANTED: Adams Jacobs as Aladdin. Photo: Deen Van Meer

CAVE OF WONDERS: Adam Jacobs as Aladdin. Photo: Deen Van Meer.

‘ALADDIN’ DUO: Courtney Reed & Adam Jacobs. Photo: Deen Van Meer

MORE SCENES FROM ‘ALADDIN’: Courtney Reed & Brandt Martinez. Photo: Cylla von Tiedemann

WHOLE NEW WORLD: Adam Jacobs as Aladdin. Photo: Cylla von Tiedemann

Edited by Scott Harrah
Published March 26, 2014
Reviewed at press performance on March 25, 2014

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