Theater Review: Good Company Players’ ‘Frozen’ Casts a Warm Spell on Cold, Cranky Hearts
By Heather Parish
True confession: I’ve never seen “Frozen”—not the movie, not the musical, not even a YouTube clip. The only part of “Let It Go” I’d ever heard was the snippet Hannah Waddingham sings in Ted Lasso that sends Ted fleeing to the alley in a panic. I don’t have kids, nieces, or nephews. I haven’t done a babysitting gig since 1989. I’ve been blissfully out of the Disney loop since “The Lion King.”
So I’m pleased to report that Good Company Players’ production of the frosty blockbuster at Roger Rocka’s Dinner Theater caused neither panic nor pain. In fact, it was quite delightful, giving a slight thaw to my cold, cranky heart.
The Snow Princesses
At its core, “Frozen” is the tale of two royal sisters, Elsa and Anna. When Elsa’s magical ability to conjure ice spirals out of control, she fearfully isolates herself in a castle of snow, leaving the kingdom of Arendelle in an eternal winter. Irrepressible Anna embarks on a journey to bring her sister back and restore warmth to their world. Along the way, she lands a prince named Hans, heads for the hills with Kristoff of the Hidden Folk, his loyal reindeer, and a quirky snowman. In true Disney fashion, Anna must find her sister before the frightened mob from Arendelle does; otherwise, it is winter forever throughout the land.
The story has elements of Hans Christian Andersen, Nordic lore, and cultural cues from the Sámi, the indigenous people of northern Norway, Sweden, and Finland.
A Blend of Old and New
STORY CONTINUES AFTER SPONSORED CONTENT
Directors Emily Pessano and Robert Sanchez infuse the show with verve and imagination, striking the right balance of whimsy and clarity to keep audiences of all ages engaged. Their staging shows a mature, inventive streak, using the ensemble movement to form striking visual tableaus and reinforce key emotional beats. The choreography by Jessica Sarkisian (with Kaitlyn Saunders and Pessano) blends traditional jazz and ballet with sections of modern dance, adding layers of texture that complement the music and highlight the show’s emotional undercurrents.
Ginger Kay Lewis-Reed’s costume design is cohesive and vibrant, contrasting jewel-toned royal wear with the styling of Nordic national costume and the warm hues and intricate detailing of Sámi garb (kofti). David Pierce’s set is simple but smart, with Nordic motifs and flourishes that give the show a sense of place without overcomplicating the space.
The production makes the most of Good Company Players’ technical resources. A blend of lighting (Joielle Adams, Evan Commins, and Andrea Henrickson), projections (Don Thompson), and classic theater techniques conjure up the adventure, power, and magic so integral to “Frozen.” It’s a thoughtful mix that elevates the material and charms the eye.
The Performances
Kaitlin Dean brings elegance and poise to Elsa, and she handles the pressure of the role with aplomb. There is room for growth in her physicality with regard to the magic, but her vocal prowess is impressive. Jessica Martin shines as Anna, playing her with scrappy energy, warmth, and a touch of naive optimism. This story is her coming-of-age story, and I like how Martin allows Anna’s own considerable powers of determination and resilience to shoot out beyond her fingers and toes. Lex Martin’s Olaf is a puppet-powered delight, exuding charm and sweetness as the snowman who loves the sun. Shawn Williams is an appealing Kristoff, while Michael Fidalgo is an excellent foil for Williams in the role of Hans, the prince. Both have good chemistry with Martin, making their scenes pop.
Standout ensemble numbers like “Hygge” (led by Greg Grannis) and “Fixer Upper” (led by Terry Lewis and Dorie Hamby) are packed with energy and humor. Duets like “For the First Time in Forever” (Martin and Dean), “Love Is an Open Door” (Fidalgo and Martin), and “What Do You Know About Love?” (Williams and Martin) offer straight-up musical comedy for the fans. Fidalgo’s cheeky “Hans of the Southern Isles” is a comedic treat, and the iconic banger “Let It Go” is delivered by Dean with show-stopping precision. Though her lower register is a touch tentative, the overall impact is strong.
The Message
Seeing “Frozen” for the first time with no expectations allowed for some heartening surprises. The story’s emotional core is less about romantic love and more about a deep, abiding bond between siblings. Its simple central themes—that only love can thaw a frozen heart and only love can properly mitigate power—feel especially resonant in our time. I also appreciated the respectful nods to Sámi culture through the use of joik in “First Joik,” “Kristoff Joik,” and the choral opening “Vuelie,” along with moments highlighting indigenous cooperation and tradition. These thoughtful touches were welcome and memorable.
If You Go
Double casting: The show is double-cast, with Kaitlin Wheeler as Elsa and Haleigh Cook as Anna in the Winter Cast. See their website for cast schedules.
Run time: At 2 hours and 30 minutes (including intermission), it’s a full evening. Plan accordingly if bringing young children.
Reservations are recommended: The Thursday night performance I attended was packed with families of all ages. Book ahead—this show is popular for a reason.
“Frozen” continues at Roger Rocka’s Dinner Theater through Sept. 21, 2025.
Steph
As a friend to you and Jaguar I generally don’t comment on your critiques unless my comment is positive in nature.
As an avid reader of TMR, I heartily enjoy the reviews and articles posted here by Donald. He acts as an Everyman audience member for his reviews, saving his personal biases for just one or two paragraphs at most.
I like his history shining through as he’s able to say the Stageworks “Next to Normal lead was better than the one he saw on Broadway. I also enjoy as he slices into the sound at the Saroyan when necessary.
Heather clearly has great experience putting on Theatre and as a director. Usually her reviews seem to be written nose-up as she extols how she would have directed the show – mixed with actively demonstrating how over-educated and smart she is. More than once I’ve sighed as I had to go look up something she wrote. Same with this review as she demonstrates her knowledge of Nowegian history and something ‘sami,’ neither of which tells me anything about the show or whether I should bring nieces to see it.
With this review she was a blank slate and could therefore comment on performances but. But. As a typical audience member it’s unimportant to me if Ginger and David held true to Nordic ideals.
Is there show good? Is it funny? Was the singing and acting and dancing good? Does it flow, move quickly, make you cry, what?
This Frozen review comes closer to being helpful for readers, but maybe next time leave the joik and kofti and sami to your interpersonal conversations with your intellectual peers (few tho they may be).
Heather is quite new to this side and she is an excellent writer, so as she grows in her reviewer role we’ll be here for it!
But as a longtime looongtime reader, I do miss Donald.
Steph
“the show” not “there show”
Larry
Heather thank you for all the highlights of the European culture present in the show. I had no idea all that was hidden under the surface and would not have appreciated it the same without your insight!
And unlike the the blurb of nonsense above my comment, I didn’t find a single spelling error or run on sentence! 😉
Thank you for being a wonderful addition to the Munro Review family and offering this community your insight, thoughts, and attention to so many wonderful productions.
Jackie Ryle
Thank you, Heather, for once again adding to my understanding and enjoyment of GCP productions. It’s so nice to have your insights and perspectives to round out my experience!
Haley
From someone who appreciates – or, rather, yearns for – cohesive storytelling and who values all the strategy, work, and talent off-stage creatives do, I want to thank you for always giving us a full perspective in your reviews, Heather. Sounds like I’d love to bring my sisters and niece to this production!
P.S. I also love learning new things from you. And, you know… in general.
Dominic Grijalva
Steph, lighten up.
Steph
Old age. I’m becoming that “get off my damn lawn” guy.