Abstract
This article combines critical, cultural, and musical analysis to situate Frozen: The Broadway Musical as a distinct work within Disney’s wider franchise. In this article, I consider the evolution of Elsa’s character on stage and the role of additional songs in the Frozen score. In so doing, I demonstrate how the stage adaptation distances itself from the feminist potential in the original animation. Using the lenses of palatability and gendered shame, I argue that Frozen: The Broadway Musical forces patriarchal modes of behaviour onto its heroines.
Highlights
In March 2014, Disney’s animated hit Frozen sold over three million copies in the US on the first day of its DVD and Blu-ray release, having previously broken records as the fastest-selling digital release of all time (Graser 2014)
The assumption that the commercial impetus of the animation and the popularity of the soundtrack would provide Frozen with a huge theatre audience has been challenged by relatively lacklustre sales and ticket brokers reporting a lack of interest in their discounted stock (Oleksinski 2018)
New York Times reviewer Jesse Green suggested that the tryout production of Frozen might be much improved if they allowed Anna her own reprise of “Let It Go” instead of the original song “True Love”
Summary
In March 2014, Disney’s animated hit Frozen sold over three million copies in the US on the first day of its DVD and Blu-ray release, having previously broken records as the fastest-selling digital release of all time (Graser 2014). New York Times reviewer Jesse Green suggested that the tryout production of Frozen might be much improved if they allowed Anna her own reprise of “Let It Go” instead of the original song “True Love”
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