Joel Vanderbush, Callen Sederquist, and ensemble members in Disney's Frozen
In 2013, Disney hit the jackpot with their animated tale of two sisters in the kingdom of Arendelle. Elsa, the heir to the throne, has spent years hiding a mysterious power she cannot fully control, while her younger sister Anna longs to restore the closeness they once shared. When Elsa’s coronation brings her secret to light, she leaves Arendelle behind, accidentally plunging the kingdom into an eternal winter. Anna then sets off, determined to find her sister and repair what has been broken. In 2018, Disney decided to adapt the show to the stage, bringing us here, locally, to see Disney's Frozen at The Spotlight Theatre.
If none of this was brand-new information for you, I have some good news: Director Sarah Tubbs’ production has kept the spirit that audiences know and love alive while bringing its own dramatic flair to the piece. Right from the top, the theatre becomes immersive with the citizens of Arendelle positioned throughout the house. Music Director Randin Letendre keeps the sound pure and exactly what audiences expect with some lovely harmonies.
This show is in particularly good hands with Callen Sederquist and Kirsten Sindelar as Anna and Elsa, respectively. Sederquist is a delight as Anna. She encapsulates the younger sister’s comedic awkwardness; while she may not be the queen, she is no second fiddle. Sindelar, meanwhile, is perfect for the role of adult Elsa. With great intensity and a singing voice that will chill you just as intended, she is everything you expect from the blonde queen.
But even though this is a show that lets the women shine, there are plenty of men who help tell the story, as well. Tyler Henning brings the oily Hans to life so well; it’s nearly a shame when his true colors are revealed. And Jorge Mendez is a fantastic Kristoff, delivering grumpy cynicism with the thin candy shell that protects his sweet self. There is no surprise that both of these men is enchanted by Anna.
Anna and Kristoff’s journey to find Elsa on the North Mountain is augmented by two lovable sidekicks. Sara Wegener created the most spot-on puppets for Olaf and Sven, and they were handled and performed spectacularly by Grace Wilborg and Zoe Zelnio. Wilborg, especially, kept that cheeky snowman familiar, but really made the performance her own – a hard thing to do with such a beloved character.
Wegener’s other costumes were a visual treat. There are certain expectations with what Frozen characters are wearing (a handful of kiddos in the audience arrived in matching costumes of their own), and Wegener met and exceeded them, bringing to the stage pops of color, Nordic detailing, and, of course, the famous sparkly blue “Let It Go” Elsa gown that fit Sindelar perfectly. Wegner was also responsible for a not-small number of wigs, the highlight of which was the one donned by the Duke of Weselton (a hilarious Joel Vanderbush). If you’re thinking to yourself, “How did Wegener pull all this off?” you’re not wrong to ask. She had a team of 13 people deep to help her achieve her goals.
Meanwhile, most of the set by Dana and Mari-Ann LisenBee and Tom and Rhonda Bowdre featured an animated screen background that moved with the cast to tell the story and keep the whole thing safely camped in Disney vibes. The screen did the heavy lifting, with a few rolling set pieces coming on and off to complete the stage picture for different locales. Other scenic elements that worked well included a maypole early on, which choreographer Bethany Sanders utilized beautifully. Throughout Saturday night's production, Sanders’ choreography shined, especially in the large, full-company numbers. “Fixer Upper” was particularly eye-catching, with Tubbs’ lovely ensemble excelling at the storytelling through dance. In fact, the only choreography I questioned was the spinning in “Love Is an Open Door,” mostly because it seemed to distract from Henning’s singing a bit.
I was especially taken with Brent Tubbs' lighting effects in “Let It Go,” though throughout the night, there were many fun lighting and snow effects that encapsulated the Frozen world. (I honestly don’t know whom to credit for the blue silk banners that swept up into the ceiling, but I loved it!) If there was a weak point to Saturday's performance, I would have to say it was the microphones. There were many times in which I felt the mics didn’t come up in time or didn’t seem to work at all. Poor trolls Pabbie (Max Johnson) and Bulda (Hailey Winkleman) really got the short end of that stick, which was especially sad because I thought they had some of the most hilarious lines of the night. Luckily, as someone quite familiar with the material, I was able to fill in the blanks – but I am disappointed for those who couldn’t.
When all is said and done, the Spotlight’s production is perfectly pleasing to fans of Frozen, and they will certainly take any imperfection that catches their attention and “Let It Go.” If you’re looking for some Anna and Elsa magic to tide you over until Thanksgiving '27’s Frozen 3 theatrical release, this is one great option.
Disney's Frozen runs at the Spotlight Theatre (1800 Seventh Avenue, Moline IL) through August 16, and more information and tickets are available by calling (309)912-7647 and visiting TheSpotlightTheatreQC.com.
