Frozen the Musical

Theatre Royal Drury Lane, London - 10/05/22

The main reason to fly south and take in this show was to see the 60 million refurbishment of London’s oldest and grandest theatre. Closing for two years this was an enormous labour of love by Andrew Lloyd Webber, demonstrating his commitment and sheer love of theatre. I had also heard that the staging by Michael Grandage was something to behold. Having done a couple of shows there and having seen several outstanding seminal shows there, it was to be a journey down memory lane. I wasn’t disappointed.  

There has been a theatre on this site since 1662, a wooden structure which survived the great fire of London but burnt down six years later in 1672. The second theatre arrived in 1674 with an amphitheatre and boxes and eventually was run by David Garrick, playwright, theatre manager and renowned actor who presented mostly plays and spectaculars eventually handing over to Brinsley Sheridan. Joseph Grimaldi made his debut in the pantomimes, the first white faced clown. Demolished in 1794 the new theatre was destroyed by fire in 1809, making Sheridan bankrupt and making way for the present building, renovated in 1922. In 2013 Andrew Lloyd Webber announced that he would restore the original. Over the years the theatre has been synonymous with musicals, since Sir John Gielgud proclaimed on the last night of ‘The Tempest’, as he broke Prospero’s staff, that the theatre royal was lost to Shakespeare and henceforth would only present American musicals, opening again with Rogers and Hammerstein’s ‘My Fair Lady’.  

However, Lloyd Webber has announced that he is determined to bring back Shakespeare and the renovations that allow for ‘theatre in the round’ would make that possible. 

And so, to the renovations that have made the theatre fit for purpose for the 21st century. On a technical level, the rebuilt fly tower now has a grid which can take the weight of 18 double decker busses, and the enormous stage has a 40 ft deep void below, so that scenery can appear from below. The front circle can be removed so that it meets a floor and joins the auditorium. Banks of purpose-built seats can create a circular space in 38 hours. The stalls seats have been replaced (and the old ones given away to small companies if they could come and collect them). The gilding, the carpets, the new Cecil Beaton Bar, the Grand Salon and the Garden restaurant are all-day destinations. The theatre is replete with new commissions from the Russian artist Maria Kreyn, depicting the essence of eight of Shakespeare’s plays. The mahogany carpentry by Mark Stephens comes from St Nicholas Abbey in Barbados.  Reducing the capacity from 2250 to 1900 has created a warm and more intimate theatre than I remember and the connection between onstage cast and the audience feels just right, like the London Palladium, Lloyd Webber’s other gem, which has the most intimate feel for a large capacity house.  

So having taken in all this grandeur and richness, did the show live up to expectations? I am familiar with the Disney animated movie and its terrific score by Kristen Anderson-Lopez and Robert Lopez. The book by Jennifer Lee re-interprets the Hans Christian Anderson story of ‘The Snow Queen’. Two ballet companies, Scottish and English National Ballet, have attempted to create work based on this tale. This time Kai and Gerda are replaced by Anna and Elsa, two sisters, one who has magical powers like the ice queen. This story however relies on the power of sisterly love and redemption 

The show looks and feels just right. The costuming reflects the original designs especially of Elsa and Anna. Many little girls in the audience came dressed in identical frocks which are so beloved by the film’s fans. The ensemble came right out of a Hans Christian Anderson picture book. Interestingly the Trolls are replaced by Sami-like people, more in number than in the film. I wondered how they would depict Sven (the Reindeer). He is cleverly brought to life by a ‘skin’ performer, but somehow his humour is lost at times. As for Olaf (the lovable snowman), brilliantly played and sung by Craig Gallivan, the character is brought to life by clever manipulation puppetry and a broad personality.  The audience loved his rendition and the staging of ‘In Summer’.

The staging and choreography by Rob Ashford do what is expected of it. Sweeping ballroom scenes, ritual entrances and slick entrances and exits. None are missed. As for the chorus work and individual singing this is pitch perfect. Particularly outstanding is Hans, played by Oliver Ormson, when he takes the stage for ‘Hans of the Southern Isles’. Richard Frame gets a lot of laughs as Wesilton. Obioma Ugoala is rather underwhelming as Kristoff but does a good job. The full orchestra in the pit play with the seasoned expertise you would expect in a west end production of this scale.  

This story is ultimately about two leading ladies. Stephanie McKeon is everything you expect of Anna. Full of energy and argument she excels in the first half. But what can one say about Samantha Barks? I did not think that anyone could top Idina Menzel delivering ‘Let it Go’. This is the climax of a great musical score, but she takes the stage and holds it, bringing the audience to its feet as she finishes the first half. Her singing is dynamic, powerful, full of emotion and she is enjoying every moment. She is truly a performer to behold.  She manages to deliver this around the amazing effects happening around her as she climbs a moving ice staircase and the stage becomes the ice palace. Quite honestly, I have never seen anything quite so spectacular. I envy the ushers who get to see this every night. 

So a cab home via Liverpool Street and a reflection on the first show in the West End for four years. I only have one gripe. Audiences are undoubtedly ill-educated in theatre behaviour. The family in front of me in nice stalls seats were well dressed and obviously well off. Unfortunately, they assumed they were in a cinema and dropped crisps and debris on their seats and carpet. Ignoring the beautiful, embroidered velour seats and rich carpet. Oblivious of the gilded auditorium. How the front of house staff, who are incredibly helpful, cope I dread to think. I admonished them on exit. 

Was it worth the ticket price? Yes. Will it go on tour? No. It needs a theatre like The Lane. This was a chance to reconnect with grand spectacular theatre after a long wait.