2020 Fairy Tales - A Preview (Part Two)

(Read Part One Of This Article Here)

As 2020 starts, it's time to look at the culture and entertainment ahead of us in the next 52 weeks, and a lot of this will be from or inspired by classic fairy tales, myths and legends, and children's stories. There are so many interesting things for fairytale fans to enjoy this year that this article is being split into two parts. The first part focused on movies and TV. The second part of this article will focus on theatre, literature and the arts. YA books, musicals and even art exhibitions are among the attractions which will entertain fairy tale fans in 2020…

Art and Literature

All The Stars and Teeth (published February 4^th)

Every year, authors and publishers provide plenty of fantasy epics aimed at the Young Adult audiences. With their grand worlds and distinctive characters, they are incredibly popular with their fandoms, and several go on to become major franchsies. One which could enjoy major success in 2020 is All The Stars and Teeth, by newcomer Adalyn Grace. She began her writing career working in the story team for the epic animated series The Legend of Korra, and the lessons she learned there are in full evidence in All The Stars And Teeth. The novel tells the story of a princess named Amora Montara, who needs to master an especially dangerous form of “soul magic” if she wants to become heir to the throne of her kingdom. When she loses control of this magic, she has to go on an epic sea quest with a pirate in order to prove she is worthy of being a future ruler. Amora has to deal with a variety of obstacles, including a stowaway, scary and vengeful mermaids and a mysterious Dark Magic which is endangering her kingdom.  All The Stars and Teeth is one of the most anticipated YA books of 2020, as it has received endorsements from popular YA fantasy icons like Tomi Adeyemi (the woman behind the Children of Blood and Bone series) and Hafsah Faizal. Grace is apparently starting work on a sequel, and we can expect plenty of epic novels from her in the future. 

Girl, Serpent, Thorn (Published May 12th)

With her 2017 novel Girls of Snow and Glass, Melissa Bashardoust put an eerie and imaginative feminist spin on Snow White, which gained considerable attention from fairytale and YA fans. Second novels are always a challenge, but Bashardoust is using her second novel, Girl, Serpent, Thorn, to cement her position as a major new talent. The story is set in a Persian-inspired Kingdom, and concerns a princess named Soraya. Since birth, Soraya has been afflicted by a curse which renders her poisionous to the touch. As a result, she has been unable to leave her palace, but when her twin brother gets married, Soraya finds the lack of freedom unbearable, and seeks out a demon who could allow her to venture into the wider world. Needless to say, this decision generates a variety of problems for Soraya, who soon finds herself wrestling with the destructive consequences of her powers. The premise has echoes of Nathaniel Hawthorne’s short story Rappaccini's Daughter and the Indian myths which inspired it, but promises to provide something original by telling the story from the perspective of the female lead, and making her attempts at coming to terms with the curse into the focal point of the story. It seems like Girl, Serpent, Thorn will further demonstrate that Bashardoust is one of the biggest  rising stars in the YA genre. 

Ray Harryhausen: Titan of Cinema (Runs May 23rd – October 25th)

Ray Harryhausen was the special effects guru who worked on a variety of epic fantasy and adventure films between the late 1940s and early 1980s. He specialised in stop motion animation, using it to create a variety of memorable monsters in blockbusters like Jason & The Argonauts, The Adventures of Sinbad and Clash of the Titans. Harryhausen became a formidable influence on all the filmmakers who watched his movies as children, including Tim Burton, Steven Spielberg and Peter Jackson. In order to mark 100 years since his birth, the National Galleries Scotland will be holding a retrospective of his work. The exhibition in Edinburgh's Scottish National Gallery of Modern Art will be dominated by Harryhausen’s creations, with impressive work from conservation teams keeping these rubber models in good condition decades after their creation. Harryhausen’s drawings and artwork will also be showcased prominently, demonstrating the extent of his talent and vision. In addition, Harryhausen’s collection of books and tools will be showcased, revealing the amount of research and effort which went into creating his creatures. The  National Galleries Scotland also promise to provide insights into Harryhausen’s life and the artists who inspired his unique approach. The artistic skills of special effects experts are often overlooked, so the Scottish National Gallery of Modern Art exhibition makes a valuable case for recognising the creatives who bring fantasy worlds and characters to life on the big screen. 


Alice: Curiouser and Curiouser (Runs June 27th – January 10th 2021)

In recent years, London's prestigious V&A Museum have provided exhibitions on major topics ranging from ranging from Opera and Winnie the Pooh to David Bowie and video games, but their examination of Alice In Wonderland promises to provide audiences with an entirely new and unique experience. Veteran stage designer Tom Piper is designing the Alice: Curiouser and Curiouser exhibition, taking advantage of the underground exhibition space to really give audiences a trip down the rabbit hole into an exciting and mysterious immersive world. The exhibition will contain an incredible 300 items, showing how Lewis Caroll created Alice In Wonderland and exploring its impact on films, theatre, art and other aspects of popular culture. With illustrations for the original tale and costumes from theatrical versions sitting alongside paintings by the likes of Salvador Dali and Peter Blake, it promises to provide a fascinating insight into how Alice In Wonderland has inspired artists and creatives over the decades.

Cinderella Liberator & 3 New Fairytale Books (published in the UK in October) 

Last year, the feminist commentator Rebecca Solnit moved into children’s fiction with her feminist fairytale Cinderella Liberator. She created a modern update of the age-old Cinderella story, maintaining the theme of a girl escaping her miserable existence, but updating it for an audience sick and tired of traditional romantic clichés. The story starts in the traditional way, with Cinderella going to the ball and losing her glass slipper, but instead of becoming a princess, Cinderella does something different and far more impressive with her life. Solnit honours the roots of her story by illustrating it with silhouettes created by the legendary fairy tale illustrator Arthur Rackham. This combination of old and new has unsurprisingly proved popular with fairy tale fans, so Cinderella Liberator is being published all over the world. However, to mark its arrival in Britain, publishers Vintage Books are providing a truly special treat. In addition to handling the UK publication of Cinderella Liberator, Vintage Books are publishing three more feminist spins on classic fairy tales, each written by an acclaimed British author. Kamila Shamsie is providing her own spin on The Ugly Duckling, and Oranges Are Not The Only Fruit author Jeanette Winterson is adapting Hansel & Gretel Most excitingly, Noughts & Crosses author Malorie Blackman, one of Britain’s best-loved writers, is creating a new take on Bluebeard. All three of these fairy tales are perfectly suited to feminist reinterpretations, and Shamsie, Winterson, and Blackman will all bring something unique and interesting to the table. Instead of providing one modern fairytale, Vintage Books will be providing four, and Cinderella Liberator and the three (currently unnamed) new books will really liven up autumn for British fairy tale fans. 

Theatre

Formulae and Fairy Tales American Tour (performances begin February 5th)

Established in 2007, Invertigo Dance Company have become one of America’s most interesting dance companies, with their creative approach and focus on making dance accessible and modern. Their fascinating new production, Formulae and Fairy Tales, is going on tour in 2020 after an acclaimed world premiere in LA last year. The first performances of the tour will be at the Phillips Center in the University of Florida Performing Arts, and more will be announced soon. Formulae and Fairy Tales is based on the tragic story of the legendary code breaker Alan Turing, who was gay at a time when homosexuality was illegal. After being imprisoned and forced into chemical castration, he committed with a poison apple, a method of death which fairy tale fans will instantly recognise from Snow White. The question of why a man whose life was based on codes and numbers would be so obsessed with the Snow White story is at the centre of this production, which highlights the contrast between Turing’s technical world and the fantastical, sinister world of fairy tales. Director Laura Karllin makes innovative use of projections to represent the AI and computer technology which Turing pioneered, and highlights the power of symbols in both technology and stories, with the forbidden apple unsurprisingly taking centre stage. Formulae and Fairy Tales represents proof that American ballet can tackle big ideas and topics in creative and original ways, and we can expect it to gain further accolades throughout 2020 – it wouldn’t be a surprise if the ballet also makes it beyond America…

The Prince of Egypt in the West End (Runs February 5th - September 12th)

Released in 1998, The Prince of Egypt is one of the finest Dreamwork's animated films. A take on the legendary Biblical story of Moses, it highlighted the epic nature of the story whilst developing the individuals who are at the centre of the events. With incredible images, fully formed characters and a strong soundtrack (including the Oscar-winning “When You Believe”), it proved that Disney were not the only studio who could create great animated musicals. Given the success of Disney’s theatrical musicals, it is not a surprise that Dreamworks are trying to break into the same market, and The Prince of Egypt is their second stage production after Shrek: The Musical. The Prince of Egypt shows how Moses, a Jewish child raised in the Pharaoh’s palace, must go up against his adoptive brother Rameses in order to rescue the Jewish people from slavery in Egypt. The musical premiered in California in 2017, and has enjoyed two productions at Denmark, but the London production (taking place at the massive Dominion Theatre) will be the biggest outing yet for the musical. There will be new sets and costumes, and iconic composer Stephen Schwartz (Pippin, Wicked, The Hunchback of Notre Dame) has added ten extra songs, including one for Moses called “Footprints in the Sand”, which is making its debut in this production. The Prince of Egypt is only having a limited 32-week run, so fans need to book tickets quickly if they want to see it in London. However, if it does well, we can expect further major productions all over the world, plus touring and amateur licensing, which could make The Prince of Egypt into a major money-spinner for Dreamworks…

A Monster Calls and The Lion The Witch and the Wardrobe tour the UK (At various UK theatres throughout 2020)

With her acclaimed versions of stories like Jane Eyre and Peter Pan, Sally Cookson established herself as an expert in adapting classic literature and children’s stories for British theatre, and her status has grown even more in recent years. In 2018, her adaptation of Patrick Ness’ heartbreaking novel A Monster Calls premiered at the Old Vic, receiving critical acclaim and winning an Olivier Award. Cookson applied a minimalistic and imaginative approach to the tearjerking story of a troubled boy visited by a mysterious monster, and it will be great to see her production gain a second life. The tour starts at Chichester's Festival Theatre on February 6th, and will take the production across the UK, concluding on June 13th at the Theatre Royal Plymouth. Cookson is famous for her collaborative approach, so we can expect the new cast and crew to edit the production whilst also staying true to the powerful messages about how stories help us deal with grief, fear, and the uncertainties and contradictions of life. A Monster Calls won’t be the only Sally Cookson play travelling through Britain in 2020. In November, her adaption of The Lion, The Witch and the Wardrobe (currently playing at the Bridge Theatre in London) will also begin a four-month tour at Aylsebury's Waterside Theatre on November 20th, with a high-profile stop in Manchester's Lowry Theatre across the Christmas period. Both tours will provide plenty of entertainment for theatregoers whilst we wait for Cookson’s next innovative productions.

Once Upon A One More Time premieres in Chicago (Runs April 14th – May 17th)

Once Upon A One More Time is a jukebox musical dedicated to millennial guilty pleasure Britney Spears, using the songs of the pop princess to tell a unique story about fairy tale Princesses. It centres on a group of classic fairy tale princesses (Snow White, Cinderella, etc) who are becoming fed up with their lives and a book club where they are only able to read Brothers Grimm fairytales. However, when a fairy godmother introduces our heroines to the classic feminist text The Feminine Mystique, our leads are inspired to shake up their conventional fairytale world. The musical is premiering in April at Chicago’s Nederlander Theatre, which has often hosted trial runs for future Broadway productions. It was meant to premiere there in October 2019 but was delayed for unknown reasons. A possible factor may be the recent opening of the similar West End musical & Juliet, which pays tribute to Britney's regular songwriter/producer Max Martin and features five of her biggest hits on the soundtrack. However, Once Upon A One More Time will probably do something different with the likes of 'Baby One More Time' and 'Stronger' and will also feature eighteen other Britney anthems, ranging from hits such as 'Toxic', 'Lucky' and 'Sometimes' to more obscure songs. Ultimately, this musical will be judged on its own terms, separate from its rival across the Atlantic, although it should successfully tap into the same demand for trashy and colourful, yet strongly progressive, escapism. Once Upon A One More Time does well in its Chicago run, it could make it to Broadway, and provide some feminist fairytale fun for Britney’s fanbase.

Rogers & Hammerstein’s Cinderella has its UK premiere (Runs May 9th – June 6th)

In 1957, a take on Cinderella from the legendary Broadway songwriters Rogers & Hammerstein’s premiered on TV. With a young Julie Andrews in the lead role, and wonderfully romantic songs such as “Ten Minutes Ago”, it proved a major hit, and has been adapted for stage and TV several times since - one notable 1997 TV adaptation featuring Whitney Houston as the Fairy Godmother. The musical was reworked for Broadway in 2013, with Douglas Carter Beane incorporating other Rogers & Hammerstein songs (such as “The Time is Now”), and appealing to modern progressive values by adding a subplot where Cinderella inspires her Prince to bring democracy to their kingdom. This new version received eight Tony Nominations (winning an award for Best Costume Design) and ran on Broadway for almost two years. Last year, a semi-staged version was performed at West London's Cadogan Hall, with Christine Allado, Diane Pilkington and Jac Yarrow in the leading roles. As a result of this increased publicity, the 2013 version of Rogers & Hammerstein’s Cinderella is finally making its full stage debut in May, as it will be performed for four weeks at Manchester’s Hope Mill Theatre, which has become one of Manchester’s most notable independent theatres since it opened in 2015. It's unlikely that any big names will appear in this smaller production, but it will certainly increase the popularity of this musical with UK audiences, and open the door for further adaptations in the future.

What Else Can We Look Forward To?

There are plenty of fairy tale films, TV shows and other that we will learn more about later in the year. Disney’s new streaming service, Disney Plus will provide more fairy tale adventures for Disney fans, including Secret Society of Second Born Royals, which could be fun if it acknowledges the ludicrous nature of its premise (What if the second born children of royals had superpowers?) Other channels are also providing their own spins on the fairy tale genre. Adult Swim, the channel behind anarchic, provocative adult animations such as Rick and Morty and Robot Chicken, are applying their signature approach to fairy tales in a new animated series created by J.J. Villard. Fairy Tales promises to provide plenty of “gross weirdness”, whilst also retaining the “charm and cuteness” of the original fairy tales – can it do both? Meanwhile, British theatres are beginning to announce their plays and pantos for Christmas 2020. Things are still subject to change, but the Lyric Hammersmith will be retelling Aladdin, New Wimbledon Theatre will be adapting Dick Whittington, and Theatre Stratford East will be providing a less conventional choice with a Little Red Riding Hood panto. There are also plenty of treats for fairytale fans outside of the UK and US. In February, Sweden’s Millesgarden museum will open an exhibition about artist Gustaf Tenggren and his work with Disney. Finally, it is necessary to mention Tell A Fairy Tale Day on 26th February, where we are all able to create our own fairy tales and share them with the world. Overall, 2020 promises to be an excellent year for fans of fairy tales, with plenty to inspire and excite them.

Christmas 2018 - Fairy Tale Plays

The cold dark winter months are an excellent time to enjoy an imaginative and colourful fairy tale, and some of the best fairy tale-based entertainment is provided by theatres over the Christmas break. This article showcases 20 of the best fairy tale-themed productions being put on by theatres in London and the rest of the UK over the Christmas period. The article solely looks at traditional plays and musicals, so ballets and pantomimes are not included.

(Note: The majority of these productions can be enjoyed by audiences of all ages, but a couple of them are for adults only.)

London

Christmas represents an excellent time for visiting London, and numerous theatres provide entertainment for people throughout the city. West End mainstays such as Wicked, The Lion King and Aladdin are still on and attracting numerous theatregoers, but this article will focus on productions that will only be on for a very limited time. Some of these are revivals of productions which have been hits in previous years, whilst others are brand new...

A Christmas Carol (Arts Theatre, Ends 12^th January)

Every Christmas, there are numerous stage adaptations of A Christmas Carol, as numerous theatres compete to provide the most impressive version of the story. The redemption of the infamous miser Ebeneezer Scrooge has become as synonymous with Christmas as trees and carols, and there are several interesting retellings this year, with one of the most interesting being performed at the Arts Theatre. The veteran British actor Simon Callow (Who has played Dickens in several TV and stage productions) narrates the story and plays all the characters in it, from Scrooge to Tiny Tim. This one-man approach is reminiscent of the readings which Charles Dickens gave at the height of his literary career and adds an old-fashioned and mysterious atmosphere which highlights the magic of the classic story. This intimate retelling of A Christmas Carol has been performed at the Arts Theatre three times before and has even inspired a television adaptation. Whilst the theatrical productions that dominate at this time of year tend to be grand spectacles, this adaptation relies almost entirely on Callow’s masterful storytelling, proving that sometimes the simplest plays can be the best.

A Christmas Carol (The Old Vic, Ends 19^th January)

In contrast to the minimalism of Callow’s production, the Old Vic version of A Christmas Carol provides a grand and immersive retelling of the classic story. When it premiered last year, Matthew Warchus’ version (written by Harry Potter and the Cursed Child playwright Jack Thorne) attracted the attention of the critics and general public with its spectacular and immersive staging. Combining Victorian music and impressive floating lanterns with a more in-depth exploration of Scrooge’s backstory, Warchus and Thorne managed to provide grand entertainment for audiences of all ages whilst emphasising the themes and messages which have made A Christmas Carol such an iconic and important story. Considering the acclaim it received, it is no surprise to see this production return for a second consecutive Christmas. Some changes have been made for this revival (Stephen Tompkinson will replace Rhys Ifans in the role of Scrooge) but it seems like it will recapture the magic of the 2017 production. The Old Vic has enjoyed an excellent year, with several acclaimed productions (including Fanny & Alexander, A Monster Calls and Wise Children) and reviving A Christmas Carol brings an eventful 2018 full circle for the prestigious London theatre.

A Very Very Very Dark Matter (The Bridge Theatre, Ends 6^th January)

After the Oscar-winning success of his film Three Billboards Outside Ebbing Missouri, Martin McDonagh has returned to the world of theatre for A Very Very Very Dark Matter, which provides a scathing satire on 19^th century colonialism and our reverence towards classic writers who are overwhelmingly white, male and European. The play is based on the premise that Hans Christian Andersen owed his success and fame to a diminutive African slave he kept imprisoned in his attic. Unsurprisingly, McDonagh goes all out to alienate Andersen fans, with the author interpreted as a grotesque, foul-mouthed racist, and Charles Dickens is also portrayed in an incredibly unflattering light. Veteran actors Jim Broadbent and Phil Daniels play Andersen and Dickens, but the star of the show is probably Joanetta Eula’Mae Ackles, the unknown actress who plays Andersen’s prisoner.  Although it has not received the acclaim associated with most of McDonagh’s work, this play has gained its fair share of champions, and worth seeing if you are interested in a strange and shocking take on the life of literary icons. If you are sick of Christmas magic and cheer, then A Very Very Very Dark Matter is worth a watch, representing an impressively vicious counterpart to the upbeat, family friendly fare which predominates at this time of year.

The Box of Delights (Wiltons Music Hall, Ends 5^th January)

Last year, the East London venue Wiltons Music Hall premiered an adaptation of Jon Masefield’s classic adventure fantasy novel The Box of Delights. The 2017 production, which was written by Children’s author Piers Torday, was generally well-received, and it is not a surprise to hear that it is being brought back for Christmas 2018. Although it was a sequel to Masefield’s earlier story The Midnight Folk, The Box of Delights has become iconic on its own terms, due to its storyline about a boy who receives an incredible magic box and must take on an evil wizard plotting against Christmas itself. Last year’s production starred TV icon Matthew Kelly and West End veteran Josefina Gabrielle in dual roles, as they played both heroic and villainous characters. Although neither Kelly nor Gabrielle are returning this time, there are some talented actors in the cast, with Harry Potter and the Cursed Child star Theo Ancient playing protagonist Kay Harker. The Box of Delights has fallen into obscurity in recent years, but its blend of uniquely British charm and epic fantasy has inspired many of the major fantasy novels which followed it, including The Lion, The Witch and The Wardrobe and The Dark is Rising. This Christmas represents an ideal time to rediscover this classic story.

Don Quixote (Garrick Theatre, Ends 2^nd February)

In an age where films, books and shows are widely expected to subvert and deconstruct genre norms, it is not surprising that there has been renewed interest in the classic Cervantes story Don Quixote. The tale of a delusional nobleman obsessed with stories of medieval chivalry and heroism, Don Quixote is enjoying a renaissance at the moment (Terry Gilliam’s adaptation is finally being released after a turbulent 20-year journey to the big screen and there is speculation that Disney are planning to create their own version), demonstrating that a story which is over 400 years old and almost 1,000 pages long can continue to capture our imaginations in the 21^st century. This production, directed by James Fenton, premiered at Stratford’s Royal Shakespeare Theatre in Spring 2016, and is now being performed in the West End for the first time. Shameless star David Threfall plays Quixote, whilst comedian Rufus Hound is his loyal sidekick Sancho Panza. The production has a wacky and comedic first half and a more melancholy second half, with innovative and unique puppetry and a wide array of songs to keep audiences entertained throughout. Regardless of how familiar you are with the original story, this adaptation of Don Quixote represents colourful and lively escapism which is perfect for this time of year.

Hadestown (National Theatre, Ends 26^th January)

Initially beginning life as a concept album written by Anais Mitchell, Hadestown has become a cult favourite, with popular and acclaimed productions taking place in Canada and New York. This creative musical puts a more modern spin on the classic Greek myth of Orpheus and Euridice, with Euridice being forced to go the dystopian city of Hadetown in her search for work, and Orpheus following her into this underworld in a bid to get her back. The soundtrack is based on musical styles from the era of the Great Depression, with folk and jazz predominating, whilst the storyline tackles a range of increasingly important social, political and environmental issues. The production also boats an impressive cast – our two protagonists being played by Reeve Carney and Eve Noblezada, whilst the Broadway veterans Andre de Shields and Patrick Page bring sinister gravitas to the roles of the Greek Gods Hermes and Hades. Director Rachel Chavkin previously made the acclaimed but short-lived Broadway musical Natasha, Pierre and the Great Comet of 1812 and this musical provides a similar blend of traditional story and innovative ideas. Hadestown will premiere on Broadway in April, and it seems like it will be a major contender at the Tony Awards over the summer. The National Theatre run represents an excellent opportunity to see Hadestown before it goes from cult favourite to acclaimed award winner.

Peter Pan (Park Theatre, Ends 5^th January)

Based near Finsbury Park in North London, the Park Theatre has become in increasingly prominent and popular venue in recent years, with numerous high-profile productions and celebrity stars. This Christmas, they will be providing a new production of Peter Pan. The selling point of this production is its use of J.M Barrie’s original script, which was created for the first ever stage production of Peter Pan in 1904. After 115 years of retellings and adaptations in many different mediums, the original text still retains plenty of its magic, but modern music and staging are being used in this version to update Peter Pan’s adventures in Neverland for 2018. Peter will be played by Nickolla King-N’Da, with Rosemary Boyle in the role of Wendy. Alexander Valhos, recently heard voicing the sinister Wolf in a recent Radio 4 adaptation of The Company of Wolves, will be playing Captain Hook. A close adaptation of the source material with enough new elements to stand out, Peter Pan is a must-watch for fans of the classic story.

Phillip Pullman's Grimm Tales (Unicorn Theatre, Ends 6th January)

Unlike most London theatres, the Unicorn Theatre provides productions which are specifically aimed at children and families. However, this does not necessarily mean that their productions will be juvenile and sanitised, and Phillip Pullman's Grimm Tales (or Grimm Tales for short) is proof that stories can be dark and scary whilst remaining entirely suitable for younger audiences. The Brothers Grimm retellings found here are based on Phillip Pullman’s 2012 translations of their work and retain the mysterious yet simplistic approach which made them so appealing for the iconic Northern Lights author. Grimm Tales features five classic Brothers Grimm fairy tales interweaved into a single narrative about a group of children hearing these stories during a sleepover. The familiar stories of Red Riding Hood and Hansel and Gretel are combined with overlooked gems such as The Goose Girl at the Spring and the twisted The Juniper Tree. Grimm Tales blends both the magical and mundane and highlights the timeless messages which Brothers Grimm fairytales can provide, making it an excellent way of introducing children to the magic and mystery of the fairy tale genre.

Rumpelstiltskin (Southbank Centre, Ends 6^th January)

This Australian update of the Brothers Grimm classic Rumpelstiltskin was a hit when it premiered in its home country in 2016, and it is making its European debut at the Southbank Centre. The Australian entertainer Paul Capsis will play the titular imp, who has been reimagined as a flamboyant and sinister fashion designer. As in the source material, Rumpelstiltskin signs a deal with a young woman seeking his help but tries to get revenge on her when she discards him. The updates to the traditional story allow for some imaginative and eccentric staging, with plenty of modern songs and some satire about our desire to seek expensive clothes. With its unconventional updates of its source material, this adaptation of Rumpelstiltskin is one of the more unusual productions on this list.

Striking 12 (Union Theatre, Ends 23^rd December)

Hans Christian Andersen’s The Little Matchgirl (which depicts an impoverished girl sacrificing her miserable life for visions of a better one) is famous for being one of the bleakest Christmas stories of all time, but like all of Andersen’s great fairytales, it possesses a blend of magic and tragedy that makes it a perfect fit for the season. For Striking 12, which is making its UK Premiere at Southwark’s Union Theatre, the story is used as the basis for a creative modern-day musical. This combines Andersen’s story of with a new narrative about a solitary man who reads The Little Matchgirl on New Years Eve and is inspired to change his perspective on life as he forms a bond with the ill-fated protagonist. The soundtrack, created by the composer duo GrooveLilly, blends a variety of contemporary musical styles, with West End stars Declan Bennett and Bronte Barbe leading the cast. Striking 12 premiered off-Broadway in 2004, and the fact that it has just made it to London is a testament to the enduring appeal of the story and its source material.

Rest of the UK

Although the West End is one of the major theatregoing hubs in the world, it would be incredibly insulting to overlook the plays and productions being performed in the rest of the UK. Theatres all over the country are providing high quality entertainment for audiences across the Christmas break, and their productions look every bit as creative and entertaining as the ones in London…

Alice in Wonderland (Sherman Theatre, Cardiff, Ends 29^th December)

Cardiff’s Sherman Theatre is increasingly becoming one off the most acclaimed theatres in Wales, with its charming programme of family friendly Christmas plays representing a highlight of the calendar. This year, they are providing a version of Alice in Wonderland directed by Rachel O’ Riordan.  This retains the surrealism of the source material, with plenty of wacky slapstick and a constantly shifting set that leads to various creative special effects. There are also several songs, and the production has a distinctive Welsh identity that contrasts with the more traditional approach embodied by Disney. However, there is also a more serious undercurrent, as Alice is portrayed here as a teenager who struggles to make sense of the world, with the eccentric residents of Wonderland representing teachers, fellow pupils and even her family. This allows the production to combine its silly approach with genuinely important messages about being yourself and dealing with an often-irrational world. In 2019, Rachel O’ Riordan will become the Artistic Director of West London’s iconic Lyric Hammersmith theatre, and this production is an excellent conclusion to her time in Wales.

Beauty and the Beast (Theatre by the Lake, The Lake District, Ends 12^th January)

Although the Lake District is famous for its spectacular mountains, parks and lakes, there is plenty of entertainment for those who would prefer to stay indoors during the long and cold winter nights. Based in the picturesque village of Keswick, the Theatre By the Lake provides lively entertainment for locals and tourists alike, and its Christmas productions are as colourful and magical as the local scenery. This year, the Theatre by the Lake are providing an adaptation of Beauty and the Beast created by the prolific director and playwright Laurence Boswell. His version of the iconic 18^th century fairytale was first performed at the Young Vic in 1996 and has been occasionally revived since. Boswell has renovated the script for this new production, but still sticks closely to Jean Marie Le Prince Beaumont’s iconic source material, as Beauty is forced to live with a cursed Beast after her father steals one of his roses for her. This traditional retelling still contains a variety of modern touches, as the production combines old-fashioned sets and robot servants. However, for all the spectacle and songs, the focus of the story will remain firmly on Beauty and her coming of age.

Duckie (Wales Millennium Centre, Cardiff, 20^th December – 31^st December)

The cabaret artist and drag queen Le Gateau Chocolat has become a prominent performer in Britain, receiving acclaim and attention for shows like Icon and Black. This Christmas, he will be performing his production Duckie at Cardiff’s famous Millennium Centre, updating Hans Christian Andersen’s iconic tale The Ugly Duckling. Most of Le Gateau Chocolat’s work is for adults, but Duckie is aimed primarily at kids. However, its messages about embracing the things which make you unusual and unique, are perfect for audiences of all ages. In this production, Le Gateau Chocolat tells the story of a Duck in a circus coming to terms with his inability to quack, as he meets various animals in his search for a suitable mentor. Le Gateau Chocolat provides numerous outlandish costumes and sings a wide variety of songs in his deep and rich singing voice. He also adds plenty of interactive elements and physical comedy to his show, but never loses sight of the main themes and issues which he is exploring.  Duckie demonstrates that Le Gateau Chocolat can provide family friendly entertainment without sacrificing the quirky and uninhibited approach which made him popular in the first place.

Hansel and Gretel (Rose Theatre Kingston, Kingston, Ends  6^th January)

With its mysterious forest setting, dark themes and brave protagonists, Hansel and Gretel is one of the defining Brothers Grimm fairy tales, but it can be a challenge to expand it into a two-hour adventure story. For their Christmas production, the Rose Theatre (based in the suburban town of Kingston-upon-Thames) are putting on a creative new adaptation of the tale, which provides a variety of major twists on a familiar narrative. Instead of being abandoned by a heartless mother, Hansel and Gretel are sent away by a corrupt mayor, and Gretel’s desire to learn more about her missing parents forms a key part of the narrative. In addition, a variety of iconic fairy tale characters (including Snow White, Red Riding Hood and Pinocchio) make cameos. However, for all the changes and expansions, the core of the story remains the same, with Gretel having to outwit the sinister child-eating witch who lives in a house made of sweets and cakes. There are a handful of adults in the show, but the real stars are the child actors from the Rose Youth Theatre, who are divided into two teams who perform on alternate nights. Blending music, magic and adventure, this retelling of Hansel and Gretel provides lively entertainment for all ages whilst maintaining the scary undertones that have made the story so iconic.

The Scarlet Pimpernel (Theatre Royal Bath, Bath, Ends 13^th January)

In 1905, the Hungarian refugee Baroness Orczy published The Scarlet Pimpernel, about a masked hero who rescues nobles from the violence and bloodshed of the French Revolution. This story of intrigue and adventure inspired many of the superheroes and daredevils who would define 20^th century fiction, but the reactionary undertones have aged badly. However, this rendition of The Scarlet Pimpernel succeeds in making the tale fit for the modern age, by providing a wackier retelling which emphasizes the action and adventure. A cast of just five actors play dozens of characters, with the Pimpernel leading a team of 20 men in a quest to save an aristocrat and his numerous pet poodles. There are plenty of bad French accents and gaudy costumes in this production, with more than a few swordfights to add some excitement. The threat posed by Madame Guillotine is a persistent fear for the protagonists, but it is played lightly enough to entertain rather than disturb the children in the audience. Overall, the Theatre Royal Bath’s take on The Scarlet Pimpernel is the sort of lively adventure that will introduce a new generation to the story which paved the way for so many iconic heroes.

Sleeping Beauty (Chichester Festival Theatre, Chichester, Ends 30^th December)

Chichester is a major theatrical hub, with numerous prominent actors and actresses performing in high-profile productions there. This means that the regional youth theatre has an incredibly significant platform to gain acclaim and attention from theatre tourists who visit the region in the winter months. This Christmas, Chichester Youth Theatre will be taking advantage of this with a production of Sleeping Beauty. Like the Theatre by the Lake adaptation of Beauty and the Beast, this is an update of a Young Vic Christmas play. However, this revival of Rufus Norris’s 2002 production takes a darker and more unconventional approach. It returns the story of Sleeping Beauty back to Charles Perrault’s source material, taking the tale beyond Beauty waking up from her enchanted sleep. Once Beauty ends up in the Prince’s Kingdom, she has to deal with a sinister troll Mother-in-law plotting against her, whilst Goody the fairy tries to set things right for the young woman who she once cursed. Embracing the macabre aspects of the original story whilst adding enough comedy and adventure to make it more palatable for children, this retelling of Sleeping Beauty makes this old-fashioned fairy tale into a creepy yet magical evening of entertainment.

Treasure Island (Leicester Haymarket Theatre, Leicester, Ends 6^th January)

Eleven years after it last hosted a play, Leicester’s Haymarket theatre has been reopened, and its first production will be an all-new adaptation of Treasure Island written by comedienne Sandi Toksvig. With her roles as a host of QI and The Great British Bake Off, Toksvig has become a national treasure, so the prospect of her adapting the classic adventure novel will doubtlessly attract many theatregoers to the Leicester Haymarket over the Christmas period. The story of Jim Hawkins and his grand adventure on the high seas, is a pretty popular choice for Christmas productions, and Toksvig (whose sister Jennifer is a co-writer on this production) will certainly be able to put her own unique spin on it. Kat Engall will play Hawkins, whilst Jules Brown will play the mysterious Long John Silver The production will also feature a cameo from another British icon – Footballer and sports pundit Gary Lineker (who played for Leicester City during his illustrious career) will appear in a video recording as Captain Flint. Combining action, comedy, music and more than a little star power, this looks like an impressive piece of escapism perfect for a family night out.

Wendy and Peter Pan (Royal Lyceum Theatre, Edinburgh, Ends 5^th January)

For their Christmas production this year, Edinburgh’s iconic Royal Lyceum Theatre are staging Wendy and Peter Pan, Ella Hickson’s 2013 adaptation of the classic play and novel from iconic Scottish playwright J.M Barrie. As the title indicates, the focus of this version is shifted from Peter Pan to the female protagonist Wendy, with her coming-of-age providing the story with most of its dramatic weight. Wendy (played by Isobel McArthur) struggles to be a force of sanity in the chaos of Neverland, as she must work alongside the ruder and more aggressive Tinkerbell and Tiger Lilly, and her adventures allow her to understand more about the responsibilities and challenges of womanhood. Peter himself is played by Ziggy Heath, whilst Gyuri Sarossy portrays an ageing but still threatening Captain Hook. For all the changes to the characters, this production still provides the impressive staging, costumes and flying effects we all expect from the Peter Pan story. Wendy and Peter Pan has been frequently revived over the last five years, and its feminist approach will make it a major hit with Scottish theatregoers.

Wicked (Palace Theatre, Manchester, Ends 5^th January)

This October marked 15 years since Wicked officially opened on Broadway, and this creative reinterpretation of The Wizard of Oz remains as popular as ever. For those unable to see it in the West End, it has spent the past five years touring various British cities, and the tour concludes in Manchester, with a month-long run at the prestigious Palace Theatre. The unusual friendship between wicked witch Elphaba and Glinda the Good witch continues to inspire and move audiences of all ages, and songs such as “Popular”, “Defying Gravity” and “For Good” are some of the most iconic Musical Theatre anthems of the 21^st century. Regardless of whether or not you are a seasoned fan of Wicked, this Manchester run represents an excellent opportunity to enjoy the musical which inspired the likes of Frozen, Once Upon A Time and Maleficent.

The Wizard of Oz (Birmingham Repertory Theatre, Birmingham, Ends 13^th January)

For those who want a more conventional take on The Wizard of Oz, the Birmingham Repertory Theatre are providing a lively musical adaptation of the iconic L. Frank Baum novel. Dorothy Gale’s journey across the Yellow Brick Road with the Tin Man, The Scarecrow and the Cowardly Lion remains one of the most influential children’s stories of all time, and this production brings it to life for the theatregoers of modern-day Birmingham, updating the rural American values for a more energetic and diverse culture. The classic songs from the 1939 movie adaptation, including “Somewhere Over the Rainbow” and “We’re Off to See the Wizard” remain intact, but have been given new orchestrations reminiscent of classic soul music, whilst the choreography combines 1930s style “Jitterbug” dancing with modern hip-hop moves. Chisara Agor plays a stronger and more assertive Dorothy, and there is plenty of gender flipping, with the Lion played by a woman and the Wicked Witch of the West being played (like so many Over-the-Top villains from family-friendly musicals) by a male actor in drag. Overall, this adaptation updates The Wizard of Oz for 2018 whilst celebrating the iconic world and characters which have allowed this tale to endure for so long.

A Monster Calls (Stage Version) – Review

Who’s It By?

A Monster Calls is adapted from a 2011 novel written by Patrick Ness, based on an idea by the late Siobahn Dowd. This version is directed by Sally Cookson, famous for her theatrical interpretations of classic stories such as Peter Pan and Jane Eyre, and the script was created by the entire cast and crew, with Adam Peck in charge of this collaborative process.

What’s It About?

A Monster Calls is about Conor O’Malley (played by Matthew Tennyson), a troubled 13 year old boy from Britain. His mother (played by Marianne Oldham) is suffering from cancer and her health is deteriorating rapidly. He struggles to get on with his strict grandmother (played by Selina Cadell), and his father (played by Felix Hayes) now lives in America, spending most of his time focused on his new family there. At school, the situation is no better, as he has fallen out with his former friend Lily (played by Witney White) and became the target of a trio of bullies led by Harry (played by John Leader). One day, Conor is visited by a mysterious Monster (played by Stuart Goodwin) who emerges from a giant Yew tree. The Monster promises Conor that he will provide him with three stories that may help him to understand his problems. In return, Conor will have to tell the monster a fourth tale about himself and his deepest fear.

How to Experience It 

A Monster Calls is currently on at London’s prestigious Old Vic theatre, with the last performance there being on the 25th August. Considering the acclaim this production has received, and the popularity of the source material, it would not be surprising if it was performed at further theatres in the future. If you are unable to see the play, then you can always buy the script, which is available at bookshops and online.

Review

(Note: This Review Contains some Mild Spoilers.)

Since it was first published, A Monster Calls has become a must-read for older children trying to come to terms with difficult issues such as grief, loss and anxiety. It has gained excellent reviews, won numerous awards, and it was even adapted into a 2016 film which starred Lewis MacDougall, Liam Neeson, Sigourney Weaver and Felicity Jones. Given this popularity, it was inevitable that it would be adapted for the stage. It is almost impossible for the stage version to avoid comparisons with the film, but both are separate adaptations of the same story. The film was mostly faithful to the book but cut several scenes from the school subplot and added some extra material for Conor and his mother. In contrast, the play is almost a direct translation of the book. Director Sally Cookson and book writer Adam Peck adopted a collaborative approach, creating a basic script and editing it with input and ideas from all the cast members. It is clear that everyone involved loves the story and wants to do justice to it, and they definitely bring A Monster Calls to life in unique and high-quality fashion

The main difference between this version and the film is how much this one uses the codes and conventions of theatre, where symbolism is key and smaller objects can be used to represent grand images and ideas. The Monster is formed using a set of ropes which embody the power and majesty of his tree form and highlight his status as the symbol of nature. Projections are used frequently throughout the production, creating a vivid contrast with the stark white stage. For the climax, when Conor’s recurring nightmare is shown in full, a section of the wall opens out to form a cliff. Even smaller effects, such as the use of ropes to depict a car, are creative and interesting. Not every visual flourish works, but the majority do, and they allow the project to gain a unique look which enhances its themes and messages.

The most elaborate sequences in the play are the three stories which the Monster tells Conor. These stories (about a Prince seemingly threatened by his mysterious step-grandmother, a parson whose war with an apothecary has a tragic conclusion, and an invisible man who lashes out at society), are powerful and potent subversions of fairy tale certainties, and are brought to life on stage in impressive fashion. The first is set in a medieval kingdom of dense forests, whilst the second is set in an industrialising world where nature has been diminished but is still visible and necessary. The first tale makes heavy use of projections and acrobatics, whilst the second depicts key plot developments through singing. Whilst the film depicted these stories with animation, they are now acted out by the ensemble, with key figures from Conor’s life playing the central roles. This makes the parallels between these tales and Conor’s plight explicit, as the latent symbolism of the stories (The sinister but ultimately non-villainous Queen represents Conor’s grandmother, and the unreliable parson represents his father) is now completely obvious. This is generally a good thing, although it is jarring to see Connor’s grandmother referred to as a “princess”. However, the third story, which ditches this fantasy element in favour of highlighting Conor’s isolation, is the most effective and disturbing, with the minimalist staging revealing how desperate Conor is and demonstrating how dangerous the Monster can be.

The heart and soul of this production is Matthew Tennyson, who plays Conor. He is initially sullen and antisocial as he dismisses the Monster and struggles to understand the messages of his stories, but his grief and confusion are evident beneath his defensive exterior, and when he finally expresses his feelings, it is devastating. This powerful performance is made even more impressive by the staging, which highlights Conor's loneliness. For most of the production, he is alone at the centre of the minimalist stage, and a synthesiser-heavy score accompanies him as he endures the trials of daily life. This portrayal of Conor’s outcast status is bleak and powerful, demonstrating that this is not a production for younger or more sensitive audiences. Based on his performance here, it seems like Tennyson will have a bright future in acting.

The supporting cast is utilised well, with the ten-person ensemble generally doing a solid job bringing the secondary characters to life. Aside from Conor, the Monster is the most significant and complex character. Stuart Goodwin is imposing and powerful, bringing plenty of physicality to a creature who embodies the wild earth but also highlighting the tender and supportive side of the character, particularly at the end. Connor’s loving mother and distant father are portrayed almost the same as they were in the book, with Marianne Oldham and Felix Hayes meeting the requirements of the role. Given that she was almost entirely cut from the film, it is great to see Conor’s former best friend Lily gain a more prominent role here, and Witney White captures her feistiness and her guilt over the way she inadvertently contributed to Conor’s status as an outcast. However, not all of the characterisation hits the mark in this version. Conor’s grandmother is not as three-dimensional as she was in the novel and the film, feeling more like a stereotypically strict grandmother – the contrast between her icy exterior and her struggle to deal with her impending loss does not feel as fully formed. The scene where she finds out that Conor has destroyed her room is such a devastating moment in the book and film (it is rightly used to conclude Act One here) but Selina Cadell’s grief and fury in this scene feels a bit hammy and unconvincing – it is the only time in the entire production where the acting misses the mark. The head school bully, Harry, also loses a lot of his impact due to attempts to make him into too much of a comic relief character. Harry is meant to be a star pupil abusing his power and position to make Conor’s life a misery but giving him grossout jokes and a lame lie about dead pet hamsters dilutes this and makes him feel like a blustering thug rather than a budding sociopath. The fault here lies with the writing as opposed to the acting – John Leader does a good job conveying Harry’s menace when it matters most. The ensemble also adopt a variety of smaller roles, as they appear in Connor’s nightmare and often sit at the sides of the stage. Their multitasking allows them to demonstrate their versatility and showcase their dancing and acrobatic skills. Though their roles are not as flashy as those of Tennyson and Goodwin, they are still able to prove their talent and enhance the production substantially.

Ultimately, for all the acting and stagecraft, this version of A Monster Calls succeeds because it retains the devastating power of the story and the potency of its emotional messages. The scene where Connor’s mother reveals her condition is incurable has lost none of its power, and Connor’s eventual acceptance of his fear and confusion will be relatable to anyone who has tried to wrestle with difficult issues such as bereavement. A Monster Calls also stands out due to its messages about human frailties. We are all prone to fear, uncertainty and borderline-hypocritical self-contradiction, but we need to come to terms with these and never be afraid to speak the truth and discuss our problems. Like the Monster himself, these lessons are eternal and will always be resonant and important. It is this which ensures that A Monster Calls is one of the most important Young Adult novels of the last decade, and like the film, the stage version is introducing a wider audience to this moving story and the valuable truths it contains. Overall, the stage version of A Monster Calls is another excellent adaptation of this tearjerking story, and I hope that the tale of  Conor O'Malley will continue to make people cry and provide wisdom and understanding for years to come.

Frozen: The Musical - Articles and Links (Part Two)

Four weeks ago, Frozen: The Musical, the stage adaptation of Disney's iconic 2013 film Frozen, made its Broadway debut, as previews commenced at the iconic (and newly-renovated) St. James' Theatre. This week, the much-loved story of Anna and Elsa, the royal sisters of Arendelle (played by Patti Murin and Caissie Levy), celebrates its official opening night on Broadway. This represents the culmination of a long and eventful journey- the first readings of the script took place two years ago, and there were numerous changes to the cast and crew before Frozen: The Musical was ready to be shown to theatregoers. There even have been a few substantial changes over the preview period- Elsa has recently been given an impressive new costume to wear during the climax of the production. However, it seems like all the hard work will pay off. Frozen fans have generally been full of praise for the musical, and the preview performances have already earned large amounts of money. It seems like Frozen: The Musical will be another big hit for Disney Theatrical, emulating the success previously enjoyed by their adaptations of Beauty and the Beast, The Lion King and Aladdin.

When the preview period began, this blog provided a post highlighting a variety of fascinating articles about Frozen: The Musical. Here, we will showcase 33 more articles about this new Broadway spectacular, including interviews with the cast and crew, information about the costumes and choreography, and exclusive revelations about the new songs created especially for this production...

(Note: This post contains spoilers, as it assumes that most of us are familiar with the story of Frozen by now. If you aren't, be careful...)

Behind the Scenes

With an estimated budget of up to $50 million, it took plenty of effort to make Frozen: The Musical into a unique and impressive spectacle. The costumes, sets, choreography and music have been edited and refined extensively during the production process, and these articles show that the team behind Frozen: The Musical are working incredibly hard in order to live up to the high standards set by the original film...

A Deep Dive Into the Costumes from Frozen on Broadway - The sets and costumes for Frozen: The Musical were designed by Christopher Oram, who has collaborated with director Michael Grandage on numerous projects over the years. In this interview with Time Out, Oram discusses how he designed the costumes of the main characters, staying true to the look and feel of the film whilst altering the clothes to meet the requirements of a stage musical where actors sing and dance in them up to eight times a week. He also reveals how he was inspired by his visits to Norway and his research into traditional Norwegian clothing...

Broadway gets 'Frozen': How A Modern Movie Classic Became a Hot New Musical - This article from USA Today provides plenty of information about Frozen: The Musical, as the Lopezes discuss the new songs added to the musical and its "Shakespearean" tone, Patti Murin and Caissie Levy explain why they love Anna and Elsa so much, and Jelani Aladdin reveals what he brings to the role of Kristoff. In addition, we learn how Murin and Levy prepare for their performances in Levy's dressing room...

Disney's Challenge: Keeping it Frozen, But Still Fresh - This article from The New York Times was published shortly before the Denver tryouts commenced, and it provided audiences with plenty of intriguing information about Frozen: The Musical . This article was the first official source to reveal some of the biggest changes made for Frozen: The Musical, such as the decision to re-imagine Kristoff's troll guardians as Scandinavian forest spirits called 'Hidden Folk' and the removal of Elsa's snow monster Marshmallow. The cast and crew also explain how much effort went into turning Frozen into a stage musical, and we get to see Caissie Levy rehearsing her take on Elsa's signature song, 'Let It Go'...

Dressed to Chill: The Costumes of ‘Frozen’ - In this interview with Newsday, Christopher Oram and Michael Grandage reveal how the costumes used in Frozen: The Musical were created, talking about the challenges posed when adapting clothing from an animated movie to a world of "gravity, physics and mic packs". However, they also reveal the advantages of using these costumes, including the ability to constantly alter them after every performance, and add the sort of details which would be impossible to include in an animated movie...

How Frozen Reimagines Its Icy World for the Broadway Stage - One of the most important selling points of Frozen: The Musical is seeing how Elsa's ice powers are brought to life on stage. This article from Vulture reveals how a wide range of equipment was used by Christopher Oram in order to convey the illusion that the young queen has accidentally created an eternal winter. The items utilised by Oram include crystal curtains, a giant bridge covered in ice, icicles sprouting from the floor, video projections, dry ice, and even dancers dressed entirely in white. There are also a couple of new photos, which show just how spectacular this production is...

Inside Disney’s Ambitious Plan To Bring Frozen To Broadway - This in-depth report from Time highlights the challenges faced by the cast and crew of Frozen: The Musical as it arrives on Broadway, where it will compete with other family-friendly productions such as Wicked and Harry Potter and the Cursed Child. The article provides plenty of information about the ways in which Frozen: The Musical will appeal to an older audience (around 70% of Broadway theatregoers are adults seeing a show without children) and how the production will try and maintain the feminist appeal of the source material in an era where women's issues are more prominent than ever. We also learn how Patti Murin and Caissie Levy used fanfiction to help them prepare for their roles as Anna and Elsa, and discover how much effort went into designing costumes and scenery...

What Can You Expect from Disney's "Frozen" on Broadway? We Sat Down with the Choreographic Team. - Elaborate dance sequences are one of the key features of musical theatre, but they meed to be planned and rehearsed in great detail in order to impress audiences. In this report from Dance magazine, we follow Rob Ashford, the head choreographer of Frozen: The Musical, and his assistants as they edit the choreography for the song 'Fixer Upper' in order to emphasise Anna and Kristoff's growing connection to each other. The article highlights the demanding and insecure nature of work in the choreography team, but also shows how important every single movement is when you are making a musical...

Changes Since Denver

Given the intense levels of anticipation for Frozen: The Musical, the mixed reviews for the Denver try-out were a bit of a disappointment. In the five-month period between the end of the Denver run and the beginning of previews on Broadway, around 30% of Frozen: The Musical has been altered in order to make it as impressive as possible and win over audiences. These changes were covered in more detail by a variety of media outlets.

'Frozen' Comes to Broadway with a Tighter Focus and a Timely Message - Here, the cast and crew of Frozen: The Musical tell The Hollywood Reporter about the need to explore Elsa and Anna's emotional turmoil in greater detail, whilst also preventing the production from getting too dark. Michael Grandage reveals that he has responded to criticism of the Denver try-outs by adding a lighter opening, whilst Patti Murin confirms that Anna and Elsa have been given more time together...

How Broadway's 'Frozen' Will Surprise Movie Fans - In this article from Variety, Michael Grandage discusses some of the new scenes created for Frozen: The Musical and outlines a few interesting changes made since the Denver tryouts. A narration provided by Pabbie (head of the 'Hidden Folk') has been cut, more scenes with Anna and Elsa have been added, and (this is the most exciting change of all) the conclusion has been altered to include a reprise of an iconic song from the original film...

Will ‘Frozen’ Succeed on Broadway with a British director and a Different Ending? - In this article from The Washington Post, Michael Grandage discusses the challenges faced when directing a mega -musical like Frozen: The Musical, explaining how he chose to depict characters such as Olaf the snowman. He also reveals how the feedback for Frozen: The Musical in Denver influenced him whilst preparing for the arrival of the show on Broadway...

Reactions to the Previews

Although reporters and critics are unable to publish reviews of Frozen: The Musical until opening night, the start of the preview period is still an incredibly significant event worth mentioning in the media. As a result, several prominent newspapers provided articles commemorating the first performances on Broadway, and commenting on the Frozen fans who were the first people to see Frozen: The Musical at the St James' Theatre...

Disney's Frozen musical opens on Broadway: 'More nudity than expected' - The day after previews officially began, The Guardian provided a report on the reactions of the audience. Viewers of all ages were present at the first performance of Frozen: The Musical on Broadway, and they seemed to be full of praise. The title of this article refers to the fake nudity which occurs during the new musical number 'Hygge', which is sung by flamboyant salesman/sauna owner Oaken and a chorus of sauna users. Unsurprisingly, this sequence has generated quite a bit of debate amongst theatregoers...

'Frozen' has its First Performance on Broadway, and the Fan Frenzy Begins - Here, The LA Times highlight the excitement of audiences at the first preview performance of Frozen: The Musical, their passion for Anna, Elsa and friends, and their enthusiastic reaction when watching the production for the first time. They also provide photos of fans (and a few key members of the crew) waiting to enter the St James' Theatre and watch the show...

Frozen: The Musical First Look: Elsa and Anna's Surprisingly Risque Broadway Debut is a Hit with Adults - Like the Guardian article, this report from The Daily Telegraph highlights some of the racier aspects of Frozen: The Musical, including several "kissing scenes" and the "Hygge" sequence. It also features interviews with audience members, who generally provided positive reviews (although some expressed criticisms and doubts) and ends by speculating that its only a matter of time before Frozen: The Musical debuts in London's West End...

Frozen: the Musical Opens on Broadway – but Will Audiences Warm To It? - Here, The Daily Telegraph comment on the popularity of Frozen and its accompanying merchandise, whilst Michael Grandage provides some information about the development of Frozen: The Musical and the changes made since the Denver try-outs. Like most of the other articles unveiled the morning after the previews began, this report also highlights the numerous positive comments provided by the Frozen fandom...

Inside the 'Frozen' Dress Rehearsal: Broadway's New Musical Prepares to Lift the Curtain - This article from the LA Times chronicles the 'Gypsy Run' - a special dress rehearsal for Frozen: The Musical attended by numerous key Broadway figures. Jennifer Lee, who wrote and co-directed the original Frozen and has written the book for Frozen: The Musical, praises the actors and discusses the importance of a live audience, whilst the actor Alfred Molina (Jennifer Lee's boyfriend and one of the guests at the 'Gypsy Run') gets to provide his opinions on the production. This rehearsal took place just two days before previews began, but Jennifer Lee and the rest of the Frozen: The Musical team were still making changes to the opening number...

The Cast

Media coverage of Frozen: The Musical have unsurprisingly focused on Patti Murin and Caissie Levy, the actresses who play Anna and Elsa. There has been considerable interest in the reasons why they love playing Frozen's two iconic protagonists, and numerous reports have highlighted their unique bond. However, other cast members, such as Jelani Alladin and Greg Hildreth, have also revealed what its like to have a lead role in such a prominent musical...

Bow Down to the ‘Frozen’ Stars Ruling Broadway - In this article from The New York Post, Caissie Levy and Patti Murin explain their contrasting backgrounds and growing friendship, and also reveal why they don't like it when people refer to Elsa and Anna as 'Princesses'. In addition, Levy gets to talk about some of the elaborate costumes which Elsa gets to wear during Frozen: The Musical, including an all-new second-act outfit (complete with boots and trousers) to make Elsa seem more bold and assertive as she prepares to fix the damage her actions have caused...

‘Frozen’ on Broadway Made Them Sisters. Heartbreak Made Them Friends. - This report from the New York Times focuses on the friendship between Caissie Levy and Patti Murin, as they discuss their interests and explain why they relate to Elsa and Anna so much. More tragically, the two actresses reveal their experiences coping with miscarriages, and we find out how Murin's loss of a child has influenced her portrayal of Anna's search for a proper family....

Meet the Guy Behind Olaf in Broadway’s ‘Frozen’ - In Frozen: The Musical, Anna's snowman sidekick Olaf - one of the most memorable characters from the original movie - has been re-imagined as a full-bodied puppet being controlled by actor Greg Hildreth (The Olaf puppet has been designed in a manner similar to the 'double event' puppets in the stage version of The Lion King - both the actor and the character are fully visible at all times). This New York Post article reveals how Hildreth brings his puppet to life, and we also learn why Olaf is more than mere comic relief...

Propelled by New Canaan program, Jelani Alladin stars in Broadway’s ‘Frozen’ - One of the biggest talking points about Frozen:The Musical is the casting of African-American actor Jelani Aladdin as Anna's love interest Kristoff, which adds some much-needed racial diversity to the cast. Here, Alladin tells Connecticut Post about winning a theatrical scholarship at high school inspired him to pursue his acting dreams. He explains the demanding training regime he has to go on in order to prepare for the role, and talks about meeting his idol, Lin-Manuel Miranda...

Q&A: Jelani Alladin of ‘Frozen' - In addition to his Connecticut Post interview, Jelani Alladin has talked to Showtickets.com about playing Kristoff on Broadway. He reveals how he reacted when he first saw Frozen, and explains why he loves that movie so much. Alladin also praises the some of the changes made for Frozen:The Musical, including a new solo for Kristoff in Act two...

Q&A: Patti Murin of 'Frozen' - Showtickets.com have also provided a Q&A with Patti Murin, who is finally receiving a solo interview after sharing numerous interviews with Caissie Levy. Here, Murin explains how she became a fan of musical theatre, reveals how Anna became her favourite Disney Princess, and talks about having a "real life Elsa" in her older sister...

The Curious Care and Feeding of Olaf the Snowman in Broadway's 'Frozen' - This article from LA Times provides more information on Greg Hildreth, as he discusses the physical demands of bringing Olaf to life, and reveals how Michael Grandage taught him to base the character on the silly but wise comic fools traditionally found in Shakespeare plays. The article also highlights the work of Daniel Mura, who is in charge of maintaining the Olaf puppet and ensuring that it remains in good condition during every performance...

The Crew

The stars of Frozen: The Musical are aided by a large crew who help transfer the characters and their world from the screen to the stage. In addition to director Michael Grandage and songwriters Robert Lopez and Kristen Anderson-Lopez (who appeared extensively in the previous collection of links) a variety of prominent crew members have also enjoyed some time in the spotlight during the Frozen: The Musical publicity campaign...

Exclusive: Choreographer Rob Ashford Gives Us All the Deets on Broadway's 'Frozen' - In this interview with DanceSpirit, Rob Ashford, the head choreographer for Frozen: The Musical, talks about the need to add dance to the story and explains how choreography was used to highlight the differences between the kingdom of Arendelle and the world of the mountains. He also discusses the constraints posed by the elaborate costumes, and reveals what his favourite sequence in the musical is...

Frozen on Broadway is a Grown-Up version of the Disney Movie - This interview with the Lopezes is from Metro.US, and features them explaining how Frozen: The Musical is aimed at more mature audiences. Kristen Anderson-Lopez discusses the dark themes and the Scandinavian-inspired sets and costumes, whilst Robert Lopez talks about the staging of Elsa's coronation, which is soundtracked by a new ballad called 'Dangerous to Dream'...

How 'Frozen' Has Changed from Screen to Stage, Including Elsa's Brand-New Power Ballad - Here, The Lopezes tell Yahoo Entertainment about the differences between Frozen: The Musical and the original movie. They explain why the world of Frozen means so much to them, and provide some intriguing comments about the forthcoming sequel Frozen 2. They also reveal some of the most interesting changes made to Frozen: The Musical since the Denver tryouts concluded...

Here’s the New ‘Frozen’ Musical Poster (and Seven That Didn’t Make the Cut) - As most theatre fans tend to focus on the play and the people who bring it to life, the importance of good marketing (even for a property as iconic as Frozen) is often overlooked. In this article from the New York Times, Disney Theatrical executive Andrew Flatt reveals the official poster for Frozen: The Musical, and shows us seven rejected designs. His comments highlight how much time and effort go into selecting the perfect poster - considering the quality of the final image, he definitely made the right choice...

They Wrote the 'Frozen' Musical for Broadway, but Can they Make it Sing? - The Lopezes have appeared in more promotional material for Frozen: The Musical than anyone else, but Jennifer Lee, who wrote and co-directed the original film, has not appeared very often in the promotional campaign. However, this LA Times article rectifies that imbalance by putting the trio together, and they provide a variety of insights about how closely the songs and dialogue are linked. The Lopezes and Jennifer Lee also explain how a psychologist helped them work on Frozen: The Musical and Frozen 2 (which is due at the end of 2019), and discuss the need to communicate feminist messages in the era of Times Up...

Why is a Master of Shakespeare Directing the Musical 'Frozen'? Because 'Let It Go' isn't too Far From the Bard - Michael Grandage has spent several interviews discussing the parallels between Frozen: The Musical and iconic Shakespeare plays such as As You Like It and Hamlet. He repeats these comparisons in this interview with LA Times, but also provides some new insights, pointing out that the St James' Theatre is famous for hosting some of the greatest American musicals (including Oklahoma! and The King and I), revealing why he needs to make Frozen: The Musical feel new and unique, and explaining why theatre means so much to him...

The New Songs - Frozen Fridays

Since the preview period began, four of the most significant new songs from Frozen: The Musical have been officially released on-line on four consecutive Fridays. The four new songs released during these 'Frozen Fridays' were: 'Monster' (an epic eleven o'clock song for Elsa), 'What Do You Know About Love' (a upbeat duet for Anna and Kristoff), 'Dangerous to Dream' (a song which Elsa sings as she prepares for her coronation) and 'True Love' (a sombre second-act ballad for Anna). All four of these songs can be heard here, and they represent interesting and memorable additions to the Frozen soundtrack. The Lopezes have provided plenty of insights into these new songs, and the way in which they advance the narrative and develop the characters...

Watch a New Song From ‘Frozen’ on Broadway - The first new song to be released was 'Monster', which Elsa sings as she prepares to face up to the damage which her ice powers have caused. In this New York Times article, the Lopezes provide further information about Elsa's "Moment of Reckoning", discussing the need to explore her emotional turmoil in detail whilst also providing hope and optimism for audiences who want Elsa to be a strong and powerful role model. The article also provides audiences with an exclusive look at the music video, which shows Levy performing the song at Manhattan's Gotham Hall...

These Broadway Stars Reacting To A New Song From Frozen On Broadway Are All Of Us- With its dark lyrics and powerful rock-orientated hook, 'Monster' seems to be one of the most popular of the new songs added to Frozen: The Musical. This article from OhMyDisney shows several Broadway stars (who have appeared in Disney Theatrical hits such as The Lion King, Aladdin and Newsies), listening to 'Monster' for the first time, and their excited and emotional reactions indicate that the song is going to be a major fan favourite...

The Inside Story behind Anna and Kristoff's new Broadway 'Frozen' Duet (plus exclusive song premiere) - The song released on the second 'Frozen Friday' was 'What Do You Know About Love?', a number where Anna and Kristoff sing about their conflicting perspectives on romance as they cross a treacherous bridge. In this article from Yahoo Entertainment, the Lopezes reveal how they adapted Anna and Kristoff's journey for the stage, and explain how they drew on their own relationship in order to develop the dynamic between the two protagonists, as their initial hostility towards each other gradually turns into a powerful friendship...

'Frozen' Exclusive: Hear Elsa's Emotional New Song from the Broadway Musical - In this article from USA Today, written to coincide with the release of 'Dangerous to Dream' (the third song to be released during the 'Frozen Fridays), The Lopezes provide a brief but interesting commentary on all four of the 'Frozen Fridays' songs. They explain how Dangerous to Dream functions as "an 'I want' song for a character who's not allowed to want anything", and how Kristen Anderson-Lopez's history of heartbreak inspired 'True Love'...

Listen to the Frozen Musical’s New Solo for Princess Anna, ‘True Love’ - The final 'Frozen Fridays' release was 'True Love', an eleven o'clock ballad which Anna sings at her absolute lowest point, after Hans betrays her and the 'Frozen Heart' curse accidentally inflicted by Elsa begins to take its toll. In this article from Vulture, Patti Murin and Kristen Anderson-Lopez reveal how 'True Love' conveys Anna's growing disillusionment, and we also learn how the song elaborates on the arrangement and themes of Frozen's iconic opening ballad 'Do You Want to Build A Snowman?'...

Summary

Based on these articles and interviews, it seems like Frozen: The Musical will satisfy Frozen fans whilst providing enough unique elements to please more critical audiences. As the official opening night gets increasingly close, the enthusiastic reactions of Frozen addicts and the goings on behind the scenes have been emphasised in greater detail, but the publicity campaign for Frozen: The Musical has not changed much over the past month, with the Lopezes, Michael Grandage and Caissie Levy still extensively promoting the darker, more mature tone of this production. Overall, Frozen: The Musical is likely to enjoy a long and successful run on Broadway. It will probably receive several nominations in the Tony Awards (Broadway's equivalent to the Oscars) and audiences all over the world can look forward to seeing Frozen: The Musical arrive in major theatres all over the world over the next few years...