'Frozen' review: The Encore brings massive Disney show to life

Courtesy of Michele Anliker Photography

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Halfway through Saturday night’s performance of The Encore Musical Theatre Company’s massively staged production of Disney’s “Frozen,” I found myself less focused on the technical spectacle and more captivated by the audience itself. Several children sat completely transfixed, clearly encountering Elsa, Anna, and Olaf in three-dimensional, living-breathing form for the very first time. These kids did not just recognize these characters, they were mesmerized by them. When one character ventured into the audience, the response was not polite excitement, it was visible awe. The kind you cannot manufacture.

That reaction matters, because while this stage adaptation of the beloved 2013 Disney juggernaut never quite reaches the polish or inventiveness of Broadway benchmarks like “Aladdin” or “The Lion King,” it accomplishes something just as vital on a local level. It gives children a genuine, large-scale live theatre experience. Under the direction of Dan Cooney, The Encore has mounted one of the biggest productions in its history and the ambition is impossible to miss. Towering set pieces, life-size puppets, immaculate costumes, and striking projections combine to create a version of Arendelle that feels expansive, immersive, and real in a way that far exceeds reasonable expectations for a regional stage.

Staging “Frozen” is a herculean task for any theatre, and it represents a clear evolutionary step for The Encore. Their move into a larger space has come with a willingness to swing bigger, and this is their boldest attempt yet. Scenic designer Sarah Tanner, lighting designer Rachel Lauren, and projection designer Tim Brown work overtime to solve the central problem of the show: how do you stage ice without freezing the action? While not every solution lands cleanly, the creativity behind them is undeniable, and often genuinely impressive.

The story remains exactly as you remember it. “Frozen” is ultimately about isolation, fear, and the slow, painful repair of fractured relationships. As young Anna and Elsa, Cici Hubbard and Lolly Cooney bring remarkable vocal strength and emotional clarity to the opening sequences, grounding the show in something real before the spectacle takes over. Their performances effectively establish the emotional stakes that the rest of the production leans on.

In the lead roles, Vanessa Dominguez as Elsa and Madeline Dick as Anna bring a sincere, plucky earnestness that fits these characters well. They embody the warmth and idealism that make Disney heroines so enduringly popular. The larger issue is not their performances but the material. The stage script clings too tightly to the animated film, often stripping these performers of opportunities to deepen or reinterpret the characters in meaningful ways. The result is a production that feels visually ambitious but emotionally cautious. You can feel the limitations of the script in the moments that should breathe the most, particularly in the lack of meaningful musical interplay between the sisters. For a story that hinges entirely on their bond, the show rarely gives them the space to explore it together through song.

The impulse to pad the runtime with new material proves to be one of the show’s weakest artistic decisions. Several of the non-film songs feel clumsily inserted, less like emotional expansions and more like narrative speed bumps. The standout exception is David Moan’s fan-favorite Oaken, whose number “Hygge” injects genuine personality and specificity into the show. Expanding his character’s world with family and community works because it feels rooted in character rather than obligation.

The supporting cast provides much of the production’s consistent energy. Connor Jordan’s Prince Hans leans fully into the character’s silken, suspicious charm. Nicholas Alexander Wilkinson II brings grounded likability to Kristoff, while Vaughn Louks’ puppeteered Sven adds physical texture and charm to their scenes. Ash Moran’s Olaf is a genuine triumph of performance and puppetry, radiating warmth, precision, and comedic instinct. The children in the audience did not just like Olaf, they trusted him, which is the real test of that character. Sometimes all you need is a warm hug, or an Olaf-shaped sugar cookie from the concession stand.

The production is not without its rough edges. Some of the puppetry work feels inconsistent, and on a second show day you could sense physical fatigue creeping into certain performances. The most divisive element is the extended Act II detour featuring Oaken roaming the audience. David Moan is undeniably funny, quick-witted, and charming. His improvisation, including a spontaneous birthday serenade for children dressed as Anna and Elsa, was genuinely hysterical, but perhaps the production team should think about trimming three or five minutes off the set, so it doesn’t completely overstay its welcome. 

Sarah B. Stevens delivers one of the evening’s most memorable performances as the cartoonish Weselton, following a terrifying turn in The Dio’s production of “Misery.” Her line delivery and physicality nearly steal the show (and whose line “I’m not a man. I am a Duke” is now hilariously baked with irony). The ensemble, stocked with a strong mix of Encore regulars and new faces, brings energy and consistency, giving the score its essential Disney sheen. Under the musical direction of R. Mackenzie Lewis and a crisp 10-piece orchestra, the production sounds clean, full, and confident. Liana Wise’s choreography finds fresh texture in familiar numbers like “Love Is an Open Door,” and Theodore Place’s hair and wig designs quietly enhance the polish of the overall production.

The show’s true magic arrives in the moment that matters most. During Elsa’s “Let It Go,” a clever costume transformation turns fear into power in front of our eyes. A small child seated nearby whispered out loud, “How did they do that?” That question is the point of all of this. That sense of wonder, confusion, and belief cannot be streamed or replicated.

This “Frozen” may not rival Broadway at its best, but it does something just as important. It creates believers. And for a new generation of theatregoers, that might be the most meaningful magic trick of all.

IF YOU GO:

FROZEN continues through January 11th at The Encore Musical Theatre Company in Dexter, MI, tickets can be purchased here.