Disney's Frozen
Let it be known: My family and I are exactly the intended audience for the Timber Lake Playhouse’s current production of Disney's Frozen. We love the material. We love theatre. So in the words of everyone’s favorite animated snowman Olaf, “Put ‘em together, it just makes sense.” The good news? If you’re also a fan, chances are you’ll feel the same way about this particular production.
Due to some unforeseen technical issues, director/choreographer Trent Soyster’s production opened later than scheduled. But it takes less than 10 minutes into the performance to understand why every element needed to be just right. With a revolving stage and a large, multi=functional platform that performs as many tricks as the actors standing on it, even the smallest glitch could throw the show’s ecosystem off balance. Fortunately, by Saturday’s opening night, everything appeared to be running smoothly.
Based on Disney's beloved animated film, Frozen follows royal sisters Elsa and Anna, whose deep bond is tested when Elsa’s magical ice powers are revealed, plunging the kingdom of Arendelle into eternal winter. Isolating herself out of fear of harming others, Elsa retreats into the mountains, prompting Anna to embark on a perilous journey to bring her sister home and save their kingdom. The musical remains faithful to the movie while expanding the score with new songs and deepening the emotional stakes, which are especially displayed in Elsa’s internal struggle and Anna’s steadfast optimism.
In the opening scenes, Timber Lake's Young Anna and Young Elsa are respectively, and on alternate performances, played by Taylor Jakobs and Molly Kashner as Anna, and Kynnedi Smith and Makalah Knutti as Elsa. (On opening night, we saw Jakobs and Smith.) When the sisters grow up, Darcie A. Hingula (Elsa) and Sydney Greene (Anna) take over, and both are vocally and emotionally strong in their roles. At times, their microphones caused them to be a bit too loud, but with voices that powerful, it’s a minor quibble.
Of course, Hans (Ian Laudano), Weselton (Kristofer Holz), Oaken (Alexander Cousins), and Frozen's other familiar characters are present, as well as being well-played, and one of the production's most delightful aspects was its employment of puppets. Olaf, brought to life by Aaron Choi, was a highlight, his timing, energy, and warmth capturing everything audiences traditionally love about the character. The reindeer Sven, operated by Drew Perez Harris, had no lines but still conveyed tons of personality. I could’ve happily watched him trot around all night, and when paired with Christian Perkins’s rugged ice harvester Kristoff, the duo had a natural chemistry that made their scenes especially fun to watch.
The costumes were exactly what you’d hope for: faithful to the animated film while bringing enough theatrical flair to feel fresh on stage. Costume designer Chakira Doherty captured the characters' spirit beautifully, incorporating Nordic-inspired touches that added depth and texture. I lost count of how many kids in the audience were dressed in Frozen-themed shirts and dresses, proof of the story’s lasting appeal. And yes, the iconic costume moment during “Let It Go,” when Elsa transforms into her sparkling blue ice dress? Absolutely nailed. The audience burst into rousing applause – deservedly so.
A standout choreographic moment came when “The Hidden Folk of the Mountain” were on stage. Soyster’s direction really came alive here, and the ensemble led by Gabriel Salazar as the serious Pabbie and Nia Chavis as the playful (and hilarious) Bulda showcased the ensemble’s strengths. At other points, the ensemble felt a bit sparse, but here, their presence and movement created a sense of community and enchantment that was both playful and mysterious.
If there was one production area that fell short, it was the lighting. It was almost shocking how frequently the actors seemed to be in shadows, even while spotlights were in play, and this was especially disappointing during key emotional moments in which facial expressions mattered. I’m particularly salty that “Love Is an Open Door” was so poorly lit – it’s my favorite number! That said, lighting designer Alexander Le Valliant Freer undeniably delivered when it counted most: in Elsa’s transformation scene. The lighting during that sequence was stunning, extending into the house and fully immersing the audience in the icy magic.
One final distraction came in Act II, when a corner of the backstage curtain came loose. Several actors walked past it as if nothing was wrong, but it gave the audience (at least where I was sitting) an unintended peek backstage, complete with running feet and shifting shadows. I’ll admit: It took me out of the moment. But despite the occasional technical hiccups in Timber Lake’s latest production, the cast’s energy, and the material’s undeniable appeal, made those issues feel small. Disney's Frozen is a whole lot of fun. And the magic is so strong that, regarding what didn’t quite land … . Well, we had no choice but to – yes – let it go.
Disney's Frozen runs at the Timber Lake Playhouse (8215 Black Oak Road, Mt. Carroll IL) through August 17, and more information and tickets are available by calling (815)244-2035 and visiting TimberLakePlayhouse.org.
