Elsa (Lea Marinelli) stands tall and confident, surrounded by the folks of Arendelle in Slow Burn Theatre's production of "Frozen" at the Broward Center for the Performing Arts' Amaturo Theater, Fort Lauderdale. (Photo by Larry Marano)
In Slow Burn Theatre Company’s dynamic production of the megahit musical “Frozen,” the “release” that Elsa experiences during a key scene looks magical – and liberating.
First, she removes her gloves and tosses them. Then, she takes off her robe, throws it into the air, smiles, and freely works her magic: With mere waves of her hand or arm, icicle-like shapes appear. Undoubtedly, a looser Elsa is happier, free to be herself without worrying about judgment or consequences.
Certainly, “Frozen” is an invigorating and enchanting show about, among other things, being true to yourself. That is exactly what Slow Burn’s cast is doing onstage at the Broward Center for the Performing Arts in Ft. Lauderdale, where the roughly two-plus hour professional production (including intermission) runs through Sunday, Jan. 4.
While Slow Burn’s mounting features spectacle, it maintains a healthy balance between sights and soul. There may be less spectacular special effects than in the 2013 animated film, but this stage adaptation, and Slow Burn’s production, is no less animated with authentic emotion and humor.
Under Slow Burn Artistic Director Patrick Fitzwater’s guidance, a gifted cast of triple threat performers brings the Kingdom of Arendelle to vivid and believable life. Fitzwater and company mostly sparkle through the show’s lighter moments, but they also deftly capture moments that feel darkish for a Disney show.
Fans of the film will be happy to learn that the movie’s memorable songs, such as “Let it Go” and “Do You Want to Build a Snowman?” remain in the stage adaptation. But the mostly faithful live show also features new songs that deepen character.
Anna (Kristi Rose Mills) kneels while her sister, Elsa (Lea Marinelli) looks on in the background in Slow Burn Theatre's production of "Frozen" at the Broward Center for the Performing Arts' Amaturo Theater, Fort Lauderdale. (Photo by Larry Marano)
They include a dark number titled “Monster,” in which Elsa questions her humanity: “Father, you know what’s best for me. If I die, will they be free? Mama, what if after I’m gone, the cold gets colder, and the storm ranges on?” The song is intense for a Disney show, made even more poignant as she sings to her deceased parents. Slow Burn’s production uses a vibrant live orchestra, which succeeds in accompanying the performers without drowning them out.
As Elsa, Lea Marinelli doesn’t just sing a number – she conveys a story. Watch and listen as she looks at her hands while wondering whether she’s evil. Marinelli plays the scene with touching vulnerability. Of course, if you’re familiar with the story, you’ve grown attached to characters such as sisters Elsa and her younger sibling, Anna.
But while “Frozen” has become a cultural phenomenon, some folks may be new to the tale. In that case, a brief synopsis introduces them to the magic – and possibly leads to their coronation as “Frozenites.”
Anna and Elsa are the daughters of King Agnarr and Queen Iduna (Lovell Rose and Allyson Rosenblum) of the fictional Arendelle. They grow up together not just as siblings but playmates. However, after Elsa accidentally hurts Anna with her magical power to turn objects into ice, the older sibling loses control of her abilities.
Before long, she’s turned Arendelle into an eternal icy winter. The girls’ parents figure the best way to keep Elsa from causing more damage is to isolate her. Her lengthy quarantine forces Elsa to find a way to remain herself while controlling her magic so that it’s no longer destructive.
Sisters Elsa (Lea Marinelli) and Anna (Kristi Rose Mills) share a moment in Slow Burn Theatre's production of "Frozen" at the Broward Center for the Performing Arts' Amaturo Theater, Fort Lauderdale. (Photo by Larry Marano)
The last time “Frozen” landed in South Florida was early 2022, when a national touring production played the Broward Center. Doubtless, it was a time when everyone knew how it felt to be isolated. Indeed, the Coronavirus pandemic was just letting up; public gatherings were not completely safe without precautions.
But while we could relate to characters such as Elsa especially at that time, the show’s appeal remains as strong as it was during the film’s release in 2013. Legions of individuals continue to relate to the show’s themes, including sisterhood, true love, redemption, responsibility, self-acceptance, and overcoming fear by embracing one’s true self.While the stage musical version of “Frozen” comprises serious and relevant themes, it doesn’t lose its brightness.
Children will delight in listening to a talking snowman (via puppetry), and kids will relate to Young Anna and Young Elsa. In Slow Burn’s production, two sets of child actors portray these characters at different performances. During the performance this critic experienced, Penelope Martone as Young Anna, convincingly playful, while Blaire DiMisa charmed as a quieter but eager Young Elsa. These young actors alternate with Stella Anne Macey as Young Elsa and Everly Beeson as Young Anna. Watching them hug each other will melt your heart. We see these children at the top of the show, when we hear the tempting song “Do You Want to Build a Snowman?”
The youngsters also play what resembles a version of “Patty Cake.” Meanwhile, other performers execute the piece’s vibrant, physical choreography under choreographer Cat Pagano’s solid guidance. Spins and jumps reinforce the show’s playful, energetic vibe. So, too, does a snowman named Olaf – the same snowman that the young girls built. The authentic-looking puppet’s handler, in full view of the audience, is Kalen Edean, who wears a matching white outfit designed by Rick Pena.
While Edean wears white, he also injects Olaf with a convincingly bright, happy manner that would lighten the darkest day. Although it’s obvious that Edean is talking, not the actual snowman, we willingly suspend disbelief since Olaf comes alive so vibrantly. Another lively puppet is a reindeer named Sven (Aaron Atkinson), whose handler/best friend is ice harvester Kristoff (Jason Ivan Rodriguez).
Kristoff and Sven share a duet titled “Reindeer(s) are Better Than People.” While humorous, the song doesn’t advance the plot. The same is true of “In Summer,” which allows Olaf to sing about his favorite time of year. These numbers provide levity, but not narrative movement.
On the other hand, “Kristoff Lullaby” lends the ice harvester character depth. Rodriguez sings sensitively about his growing love for Anna: “What is this hollow kind of helplessness I'm feeling? This type of terror is new¦ You light the world for me. You live life fearlessly. Braver than the bravest of us do”
When Anna meets Kristoff, Rodriguez plays him with a touch of sarcasm that melts seamlessly into sincere love. Ideally, we should also believe that Anna is in love with Hans – the third part of a love triangle. But Milo Alosi doesn’t fully convince us of Hans as charming at first; however, he nails Hans’ cold ambition and is commanding when necessary.
Another shortcoming involves John Luis Mazuelos’s Duke of Weselton, who is more caricature than human, less a villain than a comical foil. While the Duke is a darker character, Oaken (Michael Materdomini) is sunny, operating the trading post and sauna. The musical’s upbeat song “Hygge” (Danish for coziness and comfort) lends warmth, though like other numbers, doesn’t advance the plot.
Elsa (Lea Marinelli) in a scene from Slow Burn Theatre Company's production of "Frozen." (Photo by Larry Marano)
The main characters, Elsa and Anna, are finely differentiated. Kristi Rose Mills’ Anna is warm and endlessly talkative, the life of the party, yet conveys real frustration and hurt when Elsa shuns her. Marinelli’s Elsa is believably guarded: eyes dart, body tenses, gloved hands hidden. When Anna tries to hug Elsa, the latter’s face betrays her tortured emotions. During the iconic “Let It Go,” Elsa finally unleashes her powers, and the sisters’ reconciliation is tender and authentic.
While embraces are believable, one brief fight scene isn’t. When Anna punches Hans, supposedly ridding Arendelle of its villain, but his quick defeat strains credibility.
Behind the scenes, scenic designer Nikolas Serrano’s sets slide seamlessly and, along with stage fog, lend the production a storybook feel. Eric Norbury’s lighting and Dan Donato’s sound design bring the show vividly to life, though at least one key line was difficult to make out. Among Rick Pena’s costumes, Elsa’s “Ice Dress” stands out: each custom-made garment takes over 400 hours, encrusted with beads, sequins, and Swarovski crystals.
The effect, especially when the dress seemingly appears out of nowhere, is dazzling. From the opening chant of “Vuelie,” the production immerses us in an enchanting experience.
The little girl seated next to me, no older than 4, seemed captivated, and audiences of all ages will no doubt find the same delight. Jennifer Lee’s book humanizes the challenges of special needs, anxiety, and feeling different.
Elsa’s powers serve as a potent metaphor for these struggles, leaving audiences with awe and empathy.
From the first snowflake to the sisters’ final embrace, Slow Burn’s “Frozen” triumphs with heart, humor, and stagecraft. Indeed, the performers shine and the designs dazzle. But beneath it all lies a story that reminds us of the power of love, acceptance, and being true to oneself.
Following the final curtain, audiences leave with a smile and a renewed appreciation for live theater’s unique magic.
IF YOU GO
WHAT: Slow Burn Theatre Company’s magical production of “Frozen.”
WHEN: Various showtimes through Sunday, Jan. 4.
WHERE: The Amaturo Theater inside the Broward Center for the Performing Arts, 201 S.W. Fifth Ave. in Ft. Lauderdale.
TICKETS: (954) 462-0222 or visit www.browardcenter.org or www.slowburntheatre.org.
