‘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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‘IN TRANSIT’ (left to right): Nicholas Ward, David Abeles, Margo Seibert & Moya Angela. Photo: Joan Marcus

IN TRANSIT
Book, music & lyrics by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan & Sara Wordsworth
Conceived with Gregory T. Christopher and Karla Lant
Directed & choreographed by Kathleen Marshall
Circle in the Square
235 West 50th Street
212-239-6202, www.InTransitBroadway.com

By David NouNou

In Transit has to be the most contrived musical of this year–or in many years. I can see where the creators came up with the idea that millions of people ride the subway every day; why not write an a cappella musical about it? It would be about New Yorkers seeing themselves riding the subways and how idyllically their lives get intertwined. Well, what they came up with was a germ of an idea–if I can even call it a germ at that–and riddled it full of clichés.

You have the actress who has been auditioning for 15 years and never got a part but works as a temp in an office. You have the gay couple who wants to get married but one of their mothers is a Texas religious zealot and he introduces his fiancée as a roommate. You have the West Coast girl who was a grad student and left it to come to New York to be with the boyfriend she just met, only to be dumped by him and now she’s running in marathons in order to forget him. You also have the Wall Street tycoon who lost his job, saved nothing and is in desperate need of funds. Also, there is the requisite nasty token-booth lady, the one empty subway car that reeks of stench due to a homeless man, and the ever-annoying delay announcements.

Now for most of us a subway ride is not a pleasant experience. What with crammed cars, pushing and shoving, people hogging two seats, constant delays, it’s an ordeal just to get from point A to point B, but we have to do it because we really don’t have much of a choice. However, the authors, in a delusional manner, figured that chance meetings, romances, altering one’s life can help you move forward with all the nice people you meet on a subway. What a crock.

What it has going for it are some wonderful voices by the entire cast. After all, they have to sing a cappella. Standouts include Moya Angela (who plays three different roles), Justin Guarini, Erin MacKay, Margo Seibert and James Snyder. Kathleen Marshall, the director/choreographer who can usually take dross and turn it into silk, in this case has kept it as dross. As if we haven’t been disappointed enough earlier this year–what a way to end the 2016 Broadway season on another sad note indeed.

Edited by Scott Harrah
Published December 14, 2016
Reviewed at press performance on December 13, 2016

‘IN TRANSIT’: The cast. Photo: Joan Marcus

‘IN TRANSIT’: Erin Mackey & company. Photo: Joan Marcus

‘IN TRANSIT’: Margo Seibert & James Snyder. Photo: Joan Marcus

‘IN TRANSIT’: Justin Guarini & Telly Leung. Photo: Joan Marcus

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