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Jason Nuttle Photography
By Britin Haller
Andrew Kato has done it again. Is the Producing Artistic Director/Chief Executive of the Maltz Jupiter Theatre actually Midas, because it seems like everything Kato touches turns to gold. Just ask the opening night audience of Frozen the Broadway Musical, who were on their feet cheering well before Elsa and Anna sang the last note of the spectacular “Let It Go.”
According to Kato, the Maltz was actually one of only eight houses to have the honor of being asked by Disney Theatrical and Music Theatre International to produce Frozen the Broadway Musical as a regional premiere. In the past, the show has been strictly controlled by Disney and only available to audiences as a Broadway on Tour production (which just closed in 2024), so how exciting it must be to be a part of making history with this phenomenal event.
Inspired by the fairy tale The Snow Queen, by Hans Christian Andersen, Frozen the Broadway Musical, hereafter to be called just Frozen, is based on the 2013 Disney film of the same name, and revolves around princesses Elsa and Anna from the fictional kingdom of Arendelle.
It’s cold there. For some unexplained reason (it’s addressed in the film Frozen 2, but we don’t know it yet), Elsa, who is her father’s heir to the throne, has magical powers and the ability to make ice and snow. Because she’s still a kid who can’t contain them, she accidentally hurts her sister, Anna, when they are building a snowman they name Olaf, and Elsa is locked away in her room for safekeeping.
Sadly, while searching for answers for Elsa, in true Disney fashion, her parents are lost at sea. Years later, Elsa comes of age, and the sisters are finally reunited at her coronation, but then something bad happens there too, and the now-Queen Elsa runs away into the mountains to escape.
Anna is determined to find Elsa and bring her back, so for no other reason than she has terrible taste in men, she leaves a guy she just met (and fell in love with during the course of a song) in charge of their kingdom. Hans is handsome, and the thirteenth in line to the throne in his own country, but still.
But no matter, as this sets Anna off on a hero’s journey complete with a motley crew of characters including a jaded, but rugged, mountain man, his loyal wagon-puller reindeer, and a snowman who resembles the one Elsa made for Anna when they were just kids.
But what will happen? Will Anna find Elsa and bring her home? Will they even have a home to go to, or will Hans take full control of the kingdom? Will the lovable snowman melt in the process? Given it’s Disney, the answers are likely obvious, but not without some tears shed first.
The Tony Award-winning Frozen is a huge production of cast and crew, and we would be remiss not to acknowledge the massive amount of intricate details that must come together, while at the same time appearing seamless. While we won’t be mentioning every name, please know that you are recognized, and we acknowledge your fine work. One only has to peruse the playbill to realize each bio is as impressive as the next.
Let’s start with the cast:
Sorry, Elsa and Anna fans, but Olaf and Sven are our favorites. There, we said it. And clearly, from the audience response, this is a popular opinion. Seriously, how can you not love a little guy made of snow who is literally willing to sacrifice himself for you? Or a reindeer whose eyes look into your very soul?
Given this wasn’t this critic’s first time to see Frozen on stage, there was no shock when Olaf and Sven made their first appearance, but for many in the audience there might be. That’s because they’re not costumes, rather puppets being controlled by actors who are visible either behind, or inside them. In lesser hands, this set-up would be jarring and hard to suspend disbelief for, but Wesley Slade and Darrell T. Joe somehow make the impossible possible as they become one with their puppets, with facial expressions, and in the case of Olaf even body postures, to match.
Any initial hesitation as to the logistics of how this could work well went right out the proverbial window from the moment they both first appear. Puppeteer Eric Wright, who also created the adorable seagulls seen in Olaf’s big song and dance number, “In Summer,” approached the creation of these iconic Frozen characters with love and respect, and Wright just simply must be commended for his artistic vision, no more so than the choreography, if you will, that’s involved when Olaf comes apart, only to be put together again.
And Slade is simply a genius. We swear there are times when Olaf’s face changes ever so slightly even when he’s at rest. And when he’s thinking of something wonderful, he closes his eyes. If Wesley Slade as Olaf isn’t the cutest thing we’ve ever seen, we don’t know what is.
The grown-up sisters and princesses, Tristen Buettel as Elsa the real queen, and Brooke Quintana as Anna, the drama queen who throws a mean punch, bring down the house, both collectively, and as individuals. Buettel’s big number “Let It Go” is chill-inducing, and everything you want, and expect it to be, while Quintana gets her show-stopper, along with the terrific quintessential Prince Charming Dan Hoy as Hans, in the crowd-pleaser “Love Is An Open Door.” And who knew there were crickets in Arendelle? Hoy also knocks it out of the park in his solo “Hans of the Southern Isles.”
With the townspeople, they also excel in “Colder By The Minute,” and “For The First Time In Forever,” because nothing says high drama like vibrato. The sister’s duet “I Can’t Lose You” is full of stunning harmonies, and in the sad and haunting “Monster,” Buettel’s high soprano takes us places. But it’s “Dangerous to Dream” where we can hear exactly how crystal clear Buettel’s voice really is. Crystal clear like an icicle. Note to Buettel: hold that last note two more beats, and you’ll really knock our socks off.
And yes, Buettel and Quintana are terrific as the grown Elsa and Anna, but is it wrong to want them to not grow up so quickly? It’s hard to say goodbye to the incredible duo of Lily Rose Shytle as Young Elsa and Quinn Titcomb as Young Anna who wowed us on opening night, however we have no doubt Luna Capaldi and Elliana Blanchard, who play the roles on alternate days, are terrific as well.
Even though they leave us wanting more, when the young girls (both who are no strangers to performing) appear very briefly again near the end of Act Two, one can’t help but humorously wonder if a video wouldn’t have sufficed. After all, it was a school night.
A chance encounter (was it though?) in the lobby pre-show with the parents of Shytle and Titcomb was lovely. Not stage parents at all, more like loving champions who only want the best for their talented daughters. Just like King Agnarr (Larry Toyter) and Queen Iduna (Whitney Renee) do for Elsa and Anna. We marvel at the parallels.
Along with the physical differences in Olaf and Sven, there are some other obvious changes from the movie. The Valley of the Living Rock is gone, and so are those lovable trolls, replaced instead with Aaron Patrick Craven as Pabbie, and Courtney Blackmun Farnsworth as Bulda, the Scandinavian Hidden Folk who resemble what can best described as tree people. Their magic is good to have around in a medical crises. Just ask Anna.
One of the best moments happens when Anna and company find themselves in a local sauna house owned by an eager shopkeeper named Oaken. Thankfully his patrons wear robes, but you haven’t lived until you see a bunch of hairy legs doing Rockettes’ line kicks. A benefit, or detriment, depending on your point of view, of sitting in the second row.
Hot off his Carbonell-nominated role as Squidward in The SpongeBob Musical, Brian Klimowski plays Oaken like Andy Kaufman on speed. (See below) * Oaken might be just a minor character appearing in one scene, but he certainly makes a lasting impression. Not surprisingly, because Klimowski never phones it in, instead giving it all he’s got along with the ensemble of manic sauna-goers so crazed we have to wonder exactly what’s in those mugs.
Justin Showell as Kristoff touches us in his portrayal of the cynical, for good reason, ice man who becomes Anna’s friend, and possibly more, even though they both doth protest too much. Although they don’t start out on the right foot due to Olaf’s protective nature over Anna, Olaf and Kristoff (and Sven!) must work together to save the day. Near the end, when Kristoff holds Olaf’s hand while stroking Sven’s face, hearts, (but not Olaf!) melt. Showell says he is grateful to be snow-birding in Florida this season, and we are grateful to have him and his gorgeous smile, especially in the insightful “Reindeer(s) Are Better Than People.” No argument here.
As the ultimate comic-relief character, Giorgio Volpe, and his handlebar mustache, are perfect as Duke Weselton, a.k.a. the Duke of Weaseltown. “I’m not a man, I’m a Duke,” he says as if that somehow makes him less pompous as he struts around like a chicken. With two henchman by his side, Weselton is a ridiculous sight, and a true and utter delight.
Members of the incredible ensemble (some of whom have worked at Disney theme parks) are Bryce Bayer, Aaron Patrick Craven, Rachel Hope Ihasz, Darrell T. Joe (Sven!), Brian Klimowski, Laura McKenna, Kristi Rose Mills, Cat Pagano, Alina Pimentel, Whitney Renee, Whitney Grace, Cecilia Snow, Larry Toyter, Emily Van Vliet Perea, and Giorgio Volpe. Special shout-out to their dance captain, the always elegant Cat Pagano who is a well-known South Florida favorite. She is a moment, and no one moves a door like Cat Pagano.
In the backstage Carbonell Award-eligible categories, we have the following worthy contenders:
Scenic Designer Tijana Bjelejec, whose crew started building the elaborate sets, including the ice palace, over six months ago, Sound Designer Scott Stauffer, Lighting Designer Rob Denton, and Projection Designer Lisa Renkel who worked together to create nothing short of magic. Hint: Buy tickets away from the stage if you think you might be bothered by stage fog.
Costume Designer Leon Dobkowski (who wins the award for Best Playbill Photo!) had an enormous responsibility and pulled it off with flying colors. Standouts were Elsa’s dark green coronation dress with embroidered red roses, and all the ball gowns really, that sparkly number she wears in the ice palace, and the yellow and orange vintage boardwalk swimsuits. Wig Designer Kevin S. Foster II never disappoints, and this show is no exception.
There’s a huge moment, regarding a quick dress change by Elsa in the stage version, that’s so famous there are YouTube videos devoted just to it. And thanks to a stunning ice staircase, and properly positioned costume assistants, Sophia Lombardo and Jamie Martinsen, Elsa letting it go is a wow moment you won’t soon forget.
Unfortunately, stage managers are often overlooked in reviews and awards shows due to space and time constraints, but after seeing Frozen, there is no doubt they are the behind-the-scenes glue that holds it all together. Kent James Collins is in his first season at the Maltz, and if this show is any indication, it won’t be his last. Collins gets a great assist from Randall Swinton and Grace Cirillo.
There is just nothing like an in-house musical section for these show-stopping Broadway numbers, and Musical Director Eric Alsford and his team deliver the goods. One can’t help but wonder how the twelve-piece orchestra fares in the pit with all the special effects though.
Returning to the Maltz is the Carbonell Award-nominated choreographer Kristyn Pope who outdoes herself with clever dances including the hysterical “Hygge” and “Love Is An Open Door.” Using the narrow space around the stage opening for the orchestra pit is both courageous and nerve-wracking, especially for Sven who practically tippy-toes and definitely raises the bar.
Scoring the Tony-nominated John Tartaglia as director was a real coup. Besides being a noted actor and singer, Tartaglia got his start as part of the puppetry team on Sesame Street, and according to Eric Wright, Tartaglia’s input on his designs of Olaf and Sven was invaluable. Tartaglia must go home at night feeling so happy, and we know he did his mom proud (she was in the audience.) His mother, after all, is South Florida theater legend Angie Radosh, who certainly knows a hit show when she sees one.
Even days later, we can’t help but still contemplate the brilliance of the character of Olaf who we believe represents, and is the physical incarnation of, the childhood love between Elsa and Anna. He is everything Elsa wishes she could be. He gives warm hugs because Elsa cannot. Like Elsa, he desires the warmth of summer. And although there is no concrete proof in the Disney canon, some Frozen scholars (including this simple fan) believe Elsa creates Olaf again, in the form of the snowman they built when they were kids, and sends him to Anna just when her sister needs him the most.
While there is so much else we’d like to say about Frozen, we are learning the art of letting it go, so we’ll close in saying, take a plane, train, or automobile, or hitch your wagon to a reindeer. It doesn’t matter how you get there, just get there. Go ahead, feel like a kid again. It’s really no sacrifice. And even if it is, do it for the ones you care about because, as Olaf will tell you, “Love is putting someone else’s needs before your own.”
Tip: The Maltz’s new Island Theatre is the setting for The Blizzard Experience, an immersive foray into the world of Arendelle complete with photo opportunities, a specialty drink, and Frozen music and merchandise. With a valid ticket, visit it 90 minutes before each show and during intermission.
Also note, in the interest of preserving the integrity of the show, anyone under the age of 4 will not be admitted.
Fun Fact #1 – Ask pretty much any five-year-old girl in America who Elsa and Anna are, and they’ll look at you like you have two heads, because Elsa and Anna are very possibly the most beloved Disney Princesses ever. But wait. They aren’t considered official Disney Princesses? How can that be? Were they blackballed for some reason? Are the other Princesses jealous of them, refusing to let them in? Disney says it’s because they are both technically Queens (Frozen and Frozen 2), but we call B.S. on that. Rather, it’s a marketing tool.
Fun Fact #2 – — Say the names Hans, Kristoff, Anna, and Sven quickly and in that order, and they sound a lot like Hans Christian Andersen. Go ahead, try it, we’ll wait. What a great way to pay homage to the man himself.
Fun Fact #3 — Shout-out to this critic’s friend, David Chase, who is credited in the playbill as creating the Additional Broadway Dance Arrangements from the original Broadway production.
Fun Fact #4 – To learn more about Olaf and Sven, and how they are brought to life, check out this interview with their creator, Puppet Kitchen’s puppeteer Eric Wright, and Olaf himself, the man, the myth, the legend, Wesley Slade.
Maltz Creates Frozen’s Olaf With The Magic Of Puppet And Actor
*Look up “Andy Kaufman Saturday Night Live skits” on YouTube. You can thank us later.
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 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.
