We often hear there’s something magical about live theater. And certainly I experienced that on opening night of the Paramount’s highly-acclaimed production of Disney’s “Frozen.”
I almost didn’t attend the event at the Aurora theater because of painful spasms in my shoulder and arm, not to mention nausea, likely the result of taking a muscle relaxer on an empty stomach.
Point is, I was not in a happy place when that curtain came up. But here’s where the magic comes in.
Over the next two hours I left all that discomfort behind as I was transported into the kingdom of Arendelle, thanks to spectacular sets, outstanding music and wondrous special effects.
As the grandma of a gaggle of once-obsessed Elsa and Anna children, I’d seen Disney’s animated movie too many times to count, purchased enough “Frozen” memorabilia to stock a few toy store shelves and listened to kindergarten versions of “Let it Go” ad nauseam.
But what the Paramount has pulled off, I guarantee, will make you fall in love with that anthem again, as well as all the other songs, not to mention delightful on-stage characters that connect in ways even beyond Disney animation.
Magical? You bet.
How else to explain my ailments disappearing during the two-hour show, only to return on the drive home?
Live theater is good for whatever ails you, I guess. Especially if the show is getting rave reviews.
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If you’ve not already, I suggest you read baiduhai critic Chris Jones’ review to get his professional take on what makes this production – running through Jan. 19 – a must-see.
But the big question I had when exiting the show was just how much of the magic came from Orlando and how much from Aurora?
No doubt a strong partnership has to exist when a theater is licensed to do a Disney production. According to Paramount CEO and President Tim Rater, that includes plenty of oversight from Mickey and Co. to protect its powerful brand.
But because “Frozen” is so new – this was the Broadway musical’s regional premiere – and so wildly popular, there was even more oversight than when the Paramount put on another huge Disney show, “Beauty and the Beast.”
When little kids come, they want to see Elsa. They want to see Anna. They want to see Kristoff and Olaf and Sven and all those characters they’ve come to know and love and obsess over.
But all that magic taking place on stage? Turns out that is pure Paramount.
“I’m proud to say that every effect, prop, puppet and moment was crafted by our incredible team here at the Paramount,” said Director Trent Stork. “When you are not working in a box, it inspires creativity.”
Of course all that creativity – from the scenes to the costumes to the projections and those oh-so-adorable puppets – had to be approved by Disney. That included the special effects, which is a big deal since “Frozen” is a story about a girl with a whole lot of magic in her fingertips.
“We made a big list of every single moment in the show that needs magic, and we would brainstorm and tackle each moment one by one … which technique would be most effective,” explained Stork, who has 11 years of directing experience.
“It took months and months of careful planning with a lot of smart people … every show we learn something new every day that we can use for future productions.”
Technology, of course, has improved over the years. Light and projections certainly help pull off that element of surprise. Still, Stork pointed out, “the more magical moments in the show are actually age-old theater tricks,” including the big dress reveal where Elsa morphs into the Snow Queen.
“The biggest challenge of this show was making sure we delivered on all the spectacles,” Stork added. “What we try to do is to make sure you are never bored, that you have something coming at you often … to let you get swept away, to suspend disbelief and get lost in the magic.”
In other words, Disney quality without a Disney budget.
When the big package of Paramount concepts was anxiously sent to Disney in March for approval, the company responded quickly with just a couple of notes and plenty of praise, the director noted. And the kudos continued when the company’s representatives were in the audience for the Wednesday matinee before opening night.
“They were really impressed,” said Stork, who again threw the credit at “a great team.”
Certainly the Paramount has come a long way since that “second or third season” when Disney turned down the Aurora theater’s request to do “Tarzan,” Rater told me.
“They did not know who we were,” he said, then quickly added, “That is not a problem now.”
Indeed, just as there is a Disney brand, so also is there a Paramount brand. When people come to Aurora, said Rater, “they know they are going to get a show of high quality.”
One, I might add, that has the power to make you feel a whole lot better.
“Art,” agreed Stork, “really is the best medicine.”