Eerste scenefoto’s en recensies van de Frozen musical
Op dit moment vinden de try-outs van de musical Frozen plaats in het Amerikaanse Denver. De musical is hier een paar maanden te zien en zal dan vanaf het voorjaar op Broadway te zien zijn. De eerste scenefoto’s zijn nu beschikbaar. Patti Murin, Caissie Levy, Jelani Alladin en John Riddler zijn te zien als Anna, Elsa, Kristoff en Hans in de musicalbewerking van Disney’s filmhit Frozen.
De eerste recensies na aanleiding na een maand try-outen zijn wisselend:
New York Times (Jesse Green): This is no disaster. Mr. Grandage, who staged rivetingly dour productions of “Frost/Nixon” and “The Cripple of Inishmaan” on Broadway, has five months to revise and refine the show. Some of his work will be done for him by the St. James itself, which seats 1,600 instead of the Buell’s 2,800, and will help focus the audience on the less generic, more psychological tale he apparently wants to tell. And already much is right: The supporting cast is charming, the singing spectacular, the simpler effects – including the crystal curtain for Elsa’s palace and the part-puppet, part-human reindeer and snowman – successful.
Lisa Kennedy (Variety): The musical’s reported development budget of $25 million to $30 million has been well-spent on grand gestures like the “Let It Go” metamorphosis, and on more nuanced details like the pillowy clouds that float past when the gloomy palace’s doors are flung open to reveal beautiful skies. The scale of Arendelle’s wooden palace is imposing, as is Elsa’s mountain refuge.
Denver Post (Joanne Ostrow): More derivative and less daring than previous Disney screen-to-stage transfers, “Frozen” is fun but not transporting. It does best in minimalist moments, when relying on smart choreography rather than lavish devices. Creative lighting on an array of linked torsos effectively suggests bodies suddenly turned to ice, whereas a glittery curtain of crystals is more Vegas.
Chicago Tribune (Chris Jones): Although expansive, spectacular and intriguing, the set and costume designs by Christopher Oram are an uneasy aesthetic blend of Tivoli Scandinavian, “Game of Thrones” Nordic and cosmic art inspired by satellite; it is as if Oram wanted to run away with both Ned Stark and Stephen Hawking but there was a bungee cord, always snapping him back to Epcot. The setting for “Let it Go” is very much its own thing: it feels like a performance at the Video Music Awards, and a very effective one it is, too, what with digital ice and 3-D-bergs sprouting from Levy’s mitts as she sings her face off. Few are disappointed. This song is a star of the show in its own right; it needs to reappear in Act 2, for it is so, so loved. And, to Levy’s great credit, so well sung.