Okay, maybe not as pithy as the song title. However, when I look at the professional creatives who've brought this show to life such as producer Christie Blizzard, director Dixie Farinosi, and costumer designer Nicole Jenkins; the impressive production values; and the roster of young performers onstage you get the sense of a true springboard for our potential future stars. This is reinforced by what amounts to a mission statement in the (very polished) souvenir programme about assembling the strongest Creative Team and ensuring the Company has access to the best training available. In this sense the show is a roaring success.
It also hits the mark with its key audience demographic - children, of which there were many in attendance - who know the story, all the songs, and the cast of memorable characters. "What should we call him?" was met with an immediate chorus of "Olaf!" at the end of that scene. I witnessed a young girl stand and turn in utter fascination as she watched Hans (Lachlan Stevens) and several of the ensemble ascend the aisle in search of Elsa. In the finale, as the whole company filled the aisles on either side, two even younger girls high-fived Bronte McLennan (Anna) with such glee as their dad beamed. Anneka McLennan's rendition of the iconic Let It Go was greeted with rapturous applause as were the cast at final bows. The show looks fabulous with bright and vibrant lighting design by Richard Timms which was perhaps best showed off during In Summer with the juxtaposition of cold and warm colours as snowbound Olaf dreams of warmer climes. The lighting is also cleverly woven into the crisply projected images on the rear of the stage that depict all the various locations. The costuming by Jenkins invokes the well known appearance of the characters from the movie and there are a couple of magical costume reveals for both Anna and Elsa at different stages. The design for Olaf is a delight as is the representation of Sven the reindeer.Sound designer Mason Vellios and vocal director Veronika Panzic have created a well balanced soundscape though occasionally the exuberance of the singing overshadows the backing track which is unusual but a sign of the enthusiasm of the principal cast. Farinosi and choreographer Kenisha Yam make very good use of the large ensemble and performance space with Hygge being a notable, feel good highlight. There are also some very clever transitions as Young Elsa & Anna become Middle Anna (Lilia Sodano) and Middle Elsa (Macy Daley); and when Anna, Kristoff (Walter Gittens) and co are cast off the mountain. You can see and feel the attention to detail that has gone into staging the production across all disciplines. There's even some extra razzle dazzle with a barrage of unexpected pyrotechnics as a well earned, visual exclamation mark.
I was impressed with the performances across the board but the ones to especially catch the eye were Olivia James who displayed terrific comedic chops as Olaf; an expressive Bronte McLennan as Anna; her twin sister Anneka McLennan who is far more stoic by comparison as Elsa; Walter Gittens exuded a relaxed stage presence as Kristoff that was oddly compelling; and Addison Blizzard who ramped up the energy as Oaken. Lachlan Stevens gets to play a nice character reveal while Milla Sweeney amused with a fussy portrayal of Weselton.A well-staged production that looked and sounded fabulous with a young cast of varying ages that promises bright things for the future.
Photos by Stephen Heath Photography
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