By Britin Haller
As is often the case in books, television, or film, the sidekick is the most intriguing, and Disney’s Frozen: The Broadway Musical is no exception. Yes, of course, everyone loves the kingdom of Arendelle’s Elsa and Anna, but the best of the best is Olaf.
Ask any kid (or adult for that matter!), and they’ll probably mention Olaf as being in their top three favorites, citing also Elsa for her loyalty, and Anna for her bravery. In fact, many lists have the sisters in the top two slots, with Olaf coming in a close third. But we’re ready to tell you that this is just wrong, and here’s why. For a guy who doesn’t turn up until halfway through the show, Olaf sure leaves a lasting impact telling us “Love is putting someone else’s needs before yours,” a reminder that’s important year-round.
The princesses are lovely obviously, and their bond is magical, but are they really characters we haven’t seen before? Yes, they save themselves, mostly, and don’t need a handsome prince to do it for them, although they do need an ice guy and his reindeer, but c’mon … when have we ever had a snowman who loves summer before? NEVER, that’s when! And one can only imagine sequels where Olaf enjoys the other seasons as well. For instance, how does he feel about spring and fall? Does he love hayrides and apple cider? Picking strawberries? What’s his favorite flower? The options are limitless.
Knowing from previous experience that Olaf on stage looks very different from the cutie we see in the film, we dive into the similarities, and differences, primarily to set expectations for anyone going to see Disney’s Frozen: the Broadway Musical, beginning Jan. 7 at the Maltz Jupiter Theatre.
Here’s a sneak peek with the men behind Olaf—puppet designer Eric Wright of Puppet Kitchen Inc., and Wesley Slade, the Florida-based actor appearing as the lovable man of snow.
BRITIN: Eric, you’ve been quoted as saying there is no suspension of disbelief needed as there’s only upholding people’s tendencies to believe. As a big child who also happens to be on the spectrum and has anthropomorphism specifically for anything with a face (attributing human characteristics to inanimate objects,) my seeing Olaf on stage earlier for the first time was a traumatic experience. It’s likely other similarly-built children have had the same response. Sven is not as much of a shock, but Olaf does not resemble what people are expecting from the film, so we feel like Olaf needs to come with a trigger warning. What can you tell parents so they can properly prepare their children that your Olaf is going to be different?
ERIC: I’m so sorry you had such a shock when you saw an Olaf puppet for the first time! Anthropomorphism is what we puppeteers are counting on from the audience — we’re counting on the fact that people tend to attribute human characteristics to inanimate objects, especially if they have a face and are moved in a lifelike way. The idea that these puppets are alive is a powerful belief that we’re given from the audience, and we try to do everything to uphold and respect that belief.
BRITIN: At Disney World, Olaf is in a big white costume with a netting for the mouth. Why can’t that be done here with a microphone inside?
ERIC: Every production gets to choose how to create magic onstage, and as puppeteers, both the director John Tartaglia and I really love how puppetry can bring the world of Frozen to us! I also prefer to see the puppeteers manipulating the puppets — it’s a great way to see how the magic is being made while it’s happening!
BRITIN: Did you also design Sven and others? If so, please elaborate.
Eric Wright
ERIC: I did design Sven, too! I’m excited that our Sven looks like the animated version of the reindeer that I adore from the film. You’ll also see a couple of adorable seagulls I designed during “In Summer!”
BRITIN: Despite being a delicious part of the film, the character of
Marshmallow does not appear in the stage version. Could you have realistically created Marshmallow if called upon, or would that have been just “too big” of a challenge?
ERIC: I’d love an opportunity to create Marshmallow on stage!
BRITIN: You’re an artist in the world of puppetry. What were some of the dilemmas you ran into when designing them?
ERIC: Thank you! As is the case with every puppet, the biggest hurdle is to create objects that focus and add to the puppeteer’s performance. It’s sort of like designing a new kind of string instrument for a musician.
BRITIN: Why does the creation of the Olaf puppet fall to the individual theaters instead of Disney? Recreating the wheel seems like a lot of work, albeit a lot of fun for you!
ERIC: The best thing about recreating the wheel is you get wheels that reflect the vision and artistry of the team behind them! Since every production of Frozen has a different cast and creative team and exists in different theaters, each one is going to be unique! Having them create their own puppets means you’re not just seeing an Olaf and Sven, you’re seeing our Olaf and Sven!
BRITIN: You said once that “puppetry is one of the most collaborative art forms.” How so?
ERIC: Puppetry relies on the active participation of so many individuals: not just the designer, the builders, and the puppeteers, but the entire cast, creative team, and audience create the world where the characters come alive. Sometimes, there’s also more than one person operating a puppet at any given time.
BRITIN: Olaf is by no means the perfect snowman. How did you ensure the puppet retains the hot mess look that film Olaf does?
ERIC: It’s his imperfections that make him perfect to me!
BRITIN: Several times in the film, Olaf begins to melt having him utter the classic line “Some people are worth melting for.” Is him melting, and losing his carrot nose, in the show? If so, how is this handled from your perspective?
ERIC: He doesn’t lose his nose, and obviously the material he’s made from can’t melt, so we rely on the puppeteer’s performance and connection to the other characters onstage to make sure the audience can feel how much he cares for those people worth melting for. That said, we built him to be very squishy so he can change shape in that moment.
BRITIN: Olaf is known for his warm hugs. Is the Olaf puppet able to do that?
ERIC: Our Olaf is so sweet, but his arms are so short! The way I see it, not being able to wrap your arms all the way around someone you love shouldn’t stop you from giving a warm hug.
BRITIN: What are the mechanics of working the puppets?
ERIC: Solving the mechanical and engineering challenges of designing puppets is always one of the most interesting parts of my job. The puppets don’t have to just look like those we know and love, but they have to move like them, in a real space, with a puppeteer attached!
BRITIN: How do Olaf and Sven take a bath if they get dirty?
ERIC: Fortunately, there’s a great team of behind-the-scenes crew at the Maltz to take care of all the costumes, props, and puppets. Keeping them looking good is probably just a bit less difficult than getting a real reindeer in a bath!
BRITIN: Obviously Olaf can’t regularly come apart as he does in the film, which is a big part of the comedy, so how is this dealt with instead?
ERIC: Olaf has a stunt double (of sorts.) We affectionately refer to him as Throw-laf!
BRITIN: We admit to being mildly obsessed with Olaf (OK, totally obsessed!) Wesley, what’s his favorite snowman joke?
Wesley Slade
WESLEY: I’m also mildly totally obsessed with Olaf! I used to spend time as a Royal Historian in the Frozen Sing Along at Walt Disney World. Olaf was there during the holiday seasons, and one of my favorite jokes he taught me during our time at Disney World is …. Why can’t you let Elsa hold a balloon? She’ll … LET IT GO.
BRITIN: Olaf is full of sage advice. What’s an important lesson you have both learned from him?
ERIC: I’ve always resonated with Olaf’s unshakable optimism and strong bonds to the people he loves. I also love warm hugs!
WESLEY: Olaf sees the world through the eyes of a child learning things for the first time every single day! Everything is full of wonder, excitement, curiosity, and especially optimism. I wish to carry these aspects through my entire life. Olaf is the embodiment of love.
BRITIN: What’s your favorite part about being involved in the show?
WESLEY: I’m very excited for everyone to see all of their favorite characters on stage at the Maltz Jupiter Theatre. (Director) John Tartaglia always makes Disney magic wherever he goes! Eric Wright (puppet designer) has brought Olaf alive so beautifully, you’ll think he jumped right off the screen. As a Frozen fan myself, I can say you will not be disappointed.
BRITIN: And finally, where does Olaf sleep at night?
ERIC: Our puppet rests backstage in his own special spot, and I’d like to think Olaf’s nights are filled with warm dreams of summer.
The Maltz’s new Island Theatre will be the setting for The Blizzard Experience, an immersive foray into the world of Arendelle complete with photo opportunities, specialty drinks, Frozen merchandise, and the magic of snow! With a valid ticket for that evening’s performance, fans can visit The Blizzard Experience up to 90 minutes before curtain and during intermission.
For more on this, and all things Frozen, join Producing Artistic Director/Chief Executive Andrew Kato Sundays at 5 p.m. for his radio program on WLML Legends 100.3 FM. Upcoming topics include the designers and imagine-ers who create these fantasy worlds, a sneak peek into The Blizzard Experience, and some behind-the-scenes secrets.
Parents, know that in the interest of preserving the integrity for others, the Maltz Jupiter Theatre will not admit anyone under the age of four, and that patrons with disruptive children may be asked to take them to the lobby.
Britin Haller is a mystery author and an editor for Turner Publishing. Her recent short story “So Many Shores in Crookland” can be read in the 150th issue of Black Cat Weekly. Britin’s latest edit, a cozy mystery novel called Dumpster Dying is by Michelle Bennington and available where books are sold. Find Britin across social media.
Disney’s Frozen – The Broadway Musical plays January 7th through January 26th at the Maltz Jupiter Theatre, 1001 East Indiantown Road, Jupiter, FL (immediately east of A1A); Shows are nightly Tues-Fri @ 7:30 p.m. and Sat @ 8 p.m. Wed, Sat and Sun matinee at 2 p.m. Limited tickets still available. Running time approx. 120 minutes with a 15-minute intermission. Tickets starting at $74. Call 561-575-2223, or visit jupitertheatre.org.
