Frozen Jr. – Summer Cast - Spoiler free

TICKETS: https://www.trybooking.com/CYOPP/

Disney’s Frozen first captured hearts in 2013, and since then, its frosty charm has swept through cinemas, stages, and living rooms worldwide. Adelaide welcomed the professional tour in 2022, and now, the story finds new life on the youth theatre circuit. Adelaide Theatre Academy (ATA) brings Frozen Jr. to the stage under the creative direction of Hannah Smith and choreography by Emma Dalton, delivering a whimsical, clever, and heartfelt production.

This review focuses on the Summer Cast and is in no way a reflection of the Winter Cast’s efforts and talents.

In place of elaborate set pieces, Smith challenges the audience to use their imagination with minimalist staging – prominently using ladders – which proves both effective and inventive. While perhaps nerve-wracking for the superstitious among us, this stripped-back approach allows the storytelling and performances to shine, and shine they do.

The ensemble of townspeople, Oaken’s family, trolls, and castle staff are wonderfully synchronised, with strong commitment to character, song, and movement. Particularly impressive is the dance troupe, led by Emma Devine as the Snowflake. Devine's sharp timing, technical precision, and onstage charisma mark her as a rising star in Adelaide’s theatre scene. The cast-wide number Hygge stands out as a joyous, well-executed spectacle.

Opening the show with youthful energy are Luna Clear and Darcy Meathrel as Young Anna and Young Elsa. Their performances capture the essence of Disney’s charm and innocence, confidently navigating the first three songs and fully utilising the stage. The handover to Claire Saint and Emma Sayers during Do You Want to Build a Snowman is seamless, maintaining the emotional thread and continuity of character with impressive finesse. Some may not even notice the change.

Charlotte Delaere (Elsa) and Emma Palumbo (Anna) take over the lead roles with a roar of audience approval. Delaere skilfully conveys Elsa’s inner conflict and fear of her powers through carefully considered movement and vocal nuance. Palumbo, in contrast, is a radiant Anna – full of zest, heart, and boundless energy. Her vocal talent is a standout, and one can only hope she continues to light up Adelaide stages in the future.

Thomas Wake-Dyster delivers a commendable performance as Hans, balancing charm with eventual duplicity. From the catchy duet Love Is an Open Door to the climactic betrayal, he commands the stage with presence and intention. His transformation into the villain elicited an audible gasp – a testament to his performance.

Aled Yeoh’s Kristoff is a consistent and enjoyable presence, clearly projecting and portraying his character’s loyalty and heart. While some references to his occupation can be played up more, his duet with Sven (Reindeers Are Better Than People) is a fun and well-executed moment that deserved applause.

Speaking of Sven, Isabelle Strelan’s reindeer portrayal is magnetic. I needed a reminder post-performance that Sven doesn’t have dialogue in the pro-production as a puppet, so I shouldn’t be surprised that Strelan had only a few lines. Despite minimal dialogue, Strelan's expressive movement and clear character work made Sven irresistibly watchable from the very first moment Anna gave her a chin scratch. Charlotte Venning’s Olaf is equally delightful – her comedic timing, physicality, and heartwarming rendition of In Summer were highlights. Her naivety plays off really well and the creative alternative to Olaf’s carrot nose was genius – and best left as a surprise for audiences to discover.

Atmospherically, the production made clever choices. Even the cool temperature of the room before the show added to the immersive feel. Smith’s lighting design enhanced many key moments – Elsa’s transformation during Let It Go, Anna’s final act of love, and the visual storytelling of Elsa’s ice magic striking Anna are particularly… striking.

There were occasional issues with the balance between vocals and backing tracks in the first half, though this seemed to improve later in the show.

Ultimately, ATA’s Frozen Jr. is a glowing example of the power of ensemble theatre. The cast’s dedication, energy, and passion are evident in every scene. With only two performances remaining, it’s not too late to witness what this talented group of young performers has achieved.

Don’t miss this icy adventure – it’s heartwarming, imaginative, and a testament to the vibrant youth theatre scene in Adelaide.