Dick Whittington and his Cat (Hackney Empire) - Review

When Is It On?

This production of Dick Whittington and his Cat is running at the Hackney Empire until January 5th

Who Made It?

This production was written and directed by Susie McKenna, who has been behind every Hackney Empire pantomime since 1998. She is assisted by several regular collaborators, including songwriter Steven Edis, musical director Mark Dickman and designer Lotte Collett.

What’s it About?

In the aftermath of World War 2, the Empire Windrush arrives in London full of immigrants seeking a new life in the city. One of these is Dick Whittington (played by Tarinn Callender). He reunited with his mother, Dame Sarah (played by Clive Rowe) and finds a job in a shop ran by Alderman Firzwarren (played by Tony Whittle) and his feisty daughter Alice (played by Christina Tedders). Our hero is aided by the Fairy Bowbells (played by Sue Kelvin), who supports in in various ways, including turning his pet cat into an energetic half-human, half-feline called Uncle Vincent (played by Kat B).Unfortunately for Dick, he also attracts the unwanted attention of the villainous Queen Rat (played by Annette McLaughlin), who cooks up several schemes to ensure Dick won’t foil her plans to take over London.

Review

(Note: This review contains spoilers. The formulaic nature of pantomimes (or pantos for short)  is part of their appeal, but the reveal of key comedy and action scenes could be seen as spoilerific for those who want to see these fresh)

Since 1998, the Hackney Empire pantomime has become a major Christmas event in London’s East End. The prolific writer/director Susie McKenna has consistently produced pantomimes which combine the traditional wacky formula of songs and slapstick with creative updates and strong messages. Her latest production is a new take on the classic British panto Dick Whittington, which turns the real life story of a medieval London mayor into a fairytale about a young man who finds fame, fortune and love in the city. McKenna puts a unique spin on the familiar story, following most of the traditional beats whilst keeping things fresh, engaging and comedic. The 2019 production of Dick Whittington and his Cat represents another excellent pantomime from McKenna and her team.

No-one goes to a panto for the story, but there is just enough to provide focus and coherence here. The big selling point of this production is the Post-War setting, with Dick being one of the Carribean immigrants who arrived in Britain on the Windrush after the war. According to the programs, this twist was inspired by the story of Sam King, a Windrush immigrant who eventually became Lord Mayor Of Southwark. However, anyone who wants a detailed exploration should expect disappointment, as the history of the era is handled in a simplistic fashion. The broad basics of Post-War life are acknowledged, such as the rationing, the racial prejudice against black and Irish people, and the need to rebuild after the war, but otherwise there is little for historians. That said, this is not the production for these people. Covering the history in too much detail would case the production to become a play rather than a pantomime, and where's the fun in that? There are also some amusing allusions to the real Whittington and even a reference to the hospital in Highgate named after him. No-one goes to a pantomime to learn, but if any children are inspired to examine the history of Hackney, Dick Whittington and the Windrush immigrants, that will always be a good thing.

However, pantos are always about style over substance, with music, comedy and action allowing the Hackney pantomime team to turn a 20 minute story into a 2 hours plus extravaganza. As usual, the panto is crammed with familiar songs (old and new) which are somewhat connected to the story. Dame Sarah belts out "And I’m Telling You I’m Not Going" and "Good as Hell", Fairy Bowbells sings classic Motown songs, whilst Queen Rat has a villain song which mashes up elements of "7 Rings" and "Bad Guy", and also covers "Sweet but Psycho". Some of the musical choices are genuinely inspired. An early song is based on "London Is The Place To Be", the calypso anthem featured in the Paddington films (another brightly coloured celebration of immigrants in Britain). Meanwhile, the use of "Rewrite the Stars" as Dick and Alice's love song highlights the parallels between their experience and Phillip and Anne's star-crossed romance in that film. These numbers provide a bit more depth and substance than you would expect in the pantomime genre, whilst keeping the basic sense of fun created by talented actors singing familiar songs.

The best thing about this production is the cast. All the lead stars have extensive stage experience, and it shows throughout. As Dick, Tarinn Callender is a likeable hero, and his recurring cover of "The Impossible Dream" brings heart to the human element of the story. The Irish-accented plays a feisty take on Alice Fitzwarren, a more active character who wants to see the world. Her voice is the weakest of the cast, but her cover of  "Higher Love" late in the first act proves strong. Annette McLaughlin chews the scenery as Queen Rat whilst Sue Kelvin is a pleasingly flamboyant Fairy Bowbells. Both have no trouble speaking their lines in Verse and are really enjoying themselves on stage. Meanwhile, Hackney panto regular Kat B is excellent as Uncle Vincent the Cat, even if the character is a lot less active in the story than cats should be in Dick Whittington retellings, he is a consistently lively and performer. His highlight is an impressive cover of the Disney classic "Everybody Wants to Be A Cat", where he replicates the jazzy growl of original singer Scatman Crothers whilst also providing something unique However, the one actor who truly makes the production worth seeing is resident Dame Clive Rowe, appearing in his 13th Hackney panto. It’s not hard to see why Rowe is one of Britain’s most iconic dames. Outside panto, Rowe often plays imposing characters (he played the sinister Papa Ge in the West End version of Once On This Island and McKenna's 2009 revival), so it’s a real treat to see him go “all buns glazing” into the role of uninhibited baker Dame Sarah, providing sweets to the audience and having a chat with a random theategoer in the stalls. The real test of a Panto is whether it can keep the audience engaged throughout, and the cast all succeed in keeping our attention.

The sets and visuals are strong throughout the production. The first act takes place in London and replicates the drab, bombed out colours of the era whilst keeping the set warm and inviting. For the second half of the show, things take a more fantastical turn as our five leads go under the sea and help a mermaid find an extremely valuable shell. This cause the Post-War theme to be dropped almost entirely (which is a shame), but has positive side effects. Mermaid Maia (played by Jemma Geanaus) is a lively and spirited princess, and a creative update of the Sultan who usually seeks Dick's help in the second half of Dick Whittington pantomimes. She combines a desire to look after her domain with an unlikely romance with Uncle Vincent. The underwater and tropical island imagery used in these scenes is lovely and surprisingly atmospheric.

The show also features some impressive special effects. The quick change used to turn an ordinary but large cat into Uncle Vincent is pretty impressive, and the shipwreck which ends act one adds enough danger to keep us invested in the story (there is never any genuine danger in pantomimes, but there should be just enough to leave audiences wondering how the show will get to its happy ending). The wire work used for Maia the Mermaid and Fairy Bowbells is effectively fluid, and there is a memorable action scene where a cute baby gorilla is turned into a giant monster for Dick and his friends to fight. However, the most memorable is a simple but impressive effect which opens wash act, as the screen turns translucent to reveal the characters behind it. It’s pretty simple, but communicates the fairytale tone with wonderful efficiency - it really creates the sense that this is a fantasy world. The costumes are pretty grand as well, with Dick and Alice getting pleasingly authentic 1940s fashions, whilst Vincent the Cat  has a fishy tie to accompany his cat tail and ears. To the surprise of no one, Dame Sarah has all the grandest costumes, shifting from giant yellow and green dresses to purple outfits, Carmen Miranda-inspired tropical headdresses and a grand wedding dress inspired by the pearly kings and queens of the East End. The fairy tale designs in panto are merely a coat hanger for all the music and comedy, but the are pretty effective in this regard, supporting the tone whilst providing the magic and wonder that could also work in a more serious production.

Despite the old fashioned setting, the humour is often very modern, with intentionally anachronistic jokes about Just Eat adverts, Primark and Fleabag. There is also a healthy streak of political humour, fitting given the fact the show premiered in the midst of the British general election campaign. Queen Rat has a henchman called Boris (played by Tom Lloyd), and this leads to several digs at notoriously self-serving Conservative British prime minister Boris Johnson (As Queen Rat tells him “If you lie often enough, some people will believe anything you say”). Johnson’s recent resounding win in this election will probably lead to this satire gaining a more vicious edge, but it still stays within the gentle and upbeat tone of the show. However, whilst the political jokes are amusing in their way, the most powerful messages come at the end, as the cast instructs the audience to “listen to the children” and improve the world by “speaking out wherever you go”. With its celebration of immigrants, and messages about challenging discrimination and looking after the natural world, Dick Whittington and his Cat communicates a strongly progressive set of politics, but it is never preachy, with things staying broad enough to please audiences regardless of political persuasion.

Aside from the story and messages, there is plenty of silly jokes and broad farce which can appeal to all ages. Sarah and Uncle Vincent throw cream pies at Alderman Fitzwarren, Alice tries disguising herself as a man in order to go sailing, and the characters always remain a few steps behind the audience. There are several lines which adults have heard a few times before, but are still funny (“I don’t mind dying. I just don’t want to be there when it happens") We also her a few saucy innuendos around Dick’s name, but these are tame compared to the filth Julian Clary provides in the London Palladium pantos, and kids won't have a problem with them. As you may expect, plenty of jokes will cause more serious viewers to groan with embarrassment, but the sheer energy and enthusiasm makes this a pretty amusing production. 

In the grand panto tradition, the entertainment goes on for a bit beyond the inevitable happy ending. We are treated to an interactive cat song called "Cool Cat Chat", a sequence where Dame Sarah reads our birthday notices and thanks the band for their hard work, and a grand wedding for all three of the romantic couples. If things drag a bit at this point, the energetic concluding cover of Kool and the Gang's "Celebration" makes it all worthwhile. It is pointless to judge Panto by the standards of more traditional storytelling, but Dick Whittington and his Cat succeeds as pure entertainment. The lack of story can cause things to drag at times, but there are always impressive songs, amusing jokes and impressive effects just around the corner. It is certainly the escapist entertainment which the British public require right now. 

Verdict 

The Hackney Empire production of Dick Whittington and his Cat provides all the family friendly fun you would expect from a panto, with a charming and charismatic cast providing plenty of amusing comedy and catchy songs.  Even if the production could have done more with its Post-War setting, it still has interesting themes and ideas, and a magical atmosphere which make it satisfying for those who prefer more conventional forms of theatre. Dick Whittington and his Cat is definitely worth seeing, whether you are a keen pantomime geek or totally unfamiliar with the genre. 

Frozen II - Review

Who Made Frozen II?

Frozen II was directed and written by Jennifer Lee and Chris Buck, who directed the original Frozen. Alison Schroeder assisted in writing the script, along with a large story team. 

What's It About?

Three years after the events of the original film, Queen Elsa (Voiced by idina Menzel) is fully accepted as Queen of Arendelle, with her sister Anna (Voiced by Kristen Bell) by her side. However, she is bothered by a mysterious voice, and when she goes to follow it, she ends up accidentally unleashing a set of magical spirits which wreck havoc in Arendelle. In order to fix it, Anna, Elsa and their sidekicks - Anna's boyfriend Kristoff (Voiced by Johnathan Groff), childlike talking Snowman Olaf (Voiced by Josh Gad) and Kristoff's reindeer Sven - head to a magical forest which has been closed off from the rest of the world for decades. When they enter, they find a mysterious tribe (the Northuldra) a group of Arendelle soldiers trapped for decades, several mysterious creatures, and some disturbing secrets about their own family....

Review 

(Note: this review contains spoilers. Most key secrets go unrevealed, but a lot of elements are discussed and hinted at, so tread carefully if you want to avoid surprises....)

The unprecedented success of Disney's 2013 animated smash Frozen set an impossibly high bar for Frozen II. Whilst the original film was full of flaws, its memorable characters, timeless but relevant story, big themes and brilliant songs ensured that it captured the imaginations of millions of viewers all over the globe. Was Frozen II able to replicate the magic of the film whose success was a happy accident? Well, Yes and No. The story is a bit of a mess, but the characters, visuals and songs remain strong and the big important themes ensure that it enjoys a substantial fraction of the original's resonance.

The primary problem of Frozen II is that it tries to do too much and lacks the originals simplicity. When you strip away all the treacherous princes and kooky trolls, the first Frozen had a simple story not far removed from other revisionist fairytale films such as Shrek and The Princess Bride. Anna goes on an epic journey, she goes back, there are obstacles both ways, she gets a happy ending. However, Frozen II tries to tell a far larger and more complex story in approximately the same runtime, and this turns out to be a major fault. Pretty much EVERY character from the original appears at some point, and there is a large cast of new additions when Anna and Elsa reach the enchanted forest. These characters, including Northuldra Chief Yelena (Voiced by Martha Plimton), teenage tribespeople Ryder (Voiced by Jason Ritter) and Honeymaren (Voiced by Rachel Matthews) and former Arendelle soldier Lt.. Mattias (Voiced by Sterling K. Brown) are likeable and have enough unique features to be memorable, but are absent for long stretches. Elsa and Honeymaren have a couple of lovely interactions, but a few more scenes if them together would have strengthened their bond and satisfied the fans clamouring for Elsa to get a girlfriend (a full-blown same-sex romance would have been too much for this film, but the fan demands could have been acknowledged more). Mathias and Yelena share some good chemistry as they go from enemies to allies and advance the anti-prejudice message, but a lack of screentime prevents their arc from getting the development it deserves. There are numerous similarities to Moana (Our leads have to go on a journey to right a wrong done to nature in order to save their kingdom, and are helped and hindered by various nature spirits along the way) but whilst that film could be pretty messy too, it had a much clearer structure which essentially consisted of two humans and a very dumb chicken on a raft. Frozen II has double the number of protagonists and double the number of nature spirits. This means that it rushes through its story quite a bit, which is a mistake in an age where we expect greater character development and less of the plot holes and unanswered questions which frequently appear in traditional fairy tales. Ultimately, it is hard to deny that trimming the character count would have made the story tighter and more efficient.

However, the focus should not be on the supporting characters, but the "Frozen Family". Fortunately, our leads are generally depicted  effectively. Elsa gets a larger role, and her signature anxiety is mixed with greater level of confidence in her powers. The woman who spent the first film running away from her problems is now running towards them, and this is great to watch. Anna is a more serious character this time, although still prone to the odd silly moment. She and Elsa get to interact far more often than they did in the first film, and their love for each other is front and centre of the film. Of the leads, Kristoff probably fares the worst. The film mostly focuses on his attempts to propose to Anna, and her misunderstanding his awkward attempts at getting to the point. Whilst he gets some amusing lines, this feels a bit one-note, and he vanishes during the third quarter of the film, like most of the supporting cast. However, Olaf cements his status as a star character, and is probably even funnier than he was in the original film. Although the streak of dark humour from the first Frozen has mostly gone (Olaf is no longer at risk of melting), his wacky eccentric person personality generates plenty of laughs. His thirst for knowledge and refusal to shut up are very relatable for parents, and his uniquely over the top summary of the first Frozen is far and away the comedic highlight of the film. Anna and Elsa's parents have an expanded role, with new voice actors. Evan Rachel Wood gets to showcase her singing ability as Queen Iduna, and we learn more about how she ended up Queen of Arendelle. Whilst the casting of Alfred Molina as King Agnarr raises a few eyebrows (was he hired for his considerable talent and experience or his very close friendship with director Jennifer Lee?), he brings warmth and gravitas to his short appearance. People who love the original Frozen for Anna and Elsa's sibling bind will find plenty to enjoy here, and the numerous revelations about their past provide the extra layers to fans to analyse with their usual zeal.

There are plenty of impressive action sequences, but several feel a little rushed. The devastation of Arendelle could have been truly powerful and disturbing with more screentime, and a scene where Elsa battles a magical fire should have been expanded on too. However, the action scenes get stronger as the film progresses . Elsa's full battle with the Nokk is even more impressive than it was in the spectacular trailers, and the climax is full of wonderful imagery as Elsa's powers are showcased in a variety of ways. There are also plenty of creative visuals, with the Autumn scenery of the forest providing a more diverse colour scheme than the original film, and some icy imagery late in which makes the iconic Ice Palace from the first film seem tiny in comparison. There is also some effective camera work, with the camera following autumn leaves and providing some creative shots as the characters undertake their journey. Overall, Frozen II lives up to the epic experience promised by the trailers and promotional material.

For all of Frozen II's flaws, it improves rapidly during the second half, where the gentle and relaxed tone of the early scenes is replaced by something deeper, darker and more impressive. In particular, we are treated to an incredible scene where Elsa discovers the secret of her powers and family history. She ends up in an icy world of memories where she meets a few old friends and enemies, before fans are treated to a moment where her father explains he is reading a book by "some Danish author" (guess who?). However, the scene turns from joyous to horrifying as Elsa learns about the crime which led to the disappearance of the enchanted forest. Frozen II doesn't really have a villain to drive the conflict, but the sins of the past provide a level of drama and urgency which make the second half more focused and engaging. 

The songs are good on their own terms - they may not be as "special" as "Let It Go" was, but they are catchy enough to stick in the memory and are good enough to be listened to again and again after seeing the film. However, one weakness is the fact that many of them don't advance the story in the way that Frozen's best songs did. "Lost In The Woods" is a fun pastiche of cheesy 80s rock ballads (the sort you would associate with Chicago or Meat Loaf) , but it is so focused on emulating their music videos that it doesn't really add to the story. Olaf's "When I'm Older" has the sound and feel of a song from a 60s Disney Film, and is charmingly whimsical. "Some Things Never Change" has a more modern pop sound, and like "For the First Time in Forever", effectively contrasts Anna's happiness with Elsa's more serious view on life.

Whilst these songs are fun, the soundtrack features a greater volume of serious songs, and these are the best ones in the lineup. The opening song is an atmospheric folk ballad called "All Is Found" which is effectively repeated across the film. Elsa's first big songs, "Into the Unknown" is closest in sound to the songs from the original, with its piano hook and soaring chorus, but her other big power ballad "Show Yourself" is even more impressive. Frozen II's soundtrack concludes with a big eleven o'clock song for Anna called "The Next Right Thing", which starts with heartbreaking depression and grief, but has a powerful and hopeful finish as Anna resolves to set things right by herself. Whilst the more commercially minded "Into the Unknown" is the flagship song, it is the last two songs which are the best of a lineup that is a worthy successor to the Frozen soundtrack. 

One of Frozen II's specific strengths is the more detailed discussion of its environmental themes. The nature spirits are more developed than they were in Moana, actively leading Anna and Elsa to the truth in a variety of ways. The magical creatures in the forest, including the imposing earth Giants, the mysterious water horse the Nokk and the cute but firey salamander Bruni, all contribute effectively to this journey, and Anna and Elsa's growing connection with nature is as important as the human relarionships showcased throughout the film. In an age where environmental issues are becoming increasingly important, Frozen II's depiction of the value of nature and the consequences of disrespecting it feels powerfully resonant. It's not hard to see contemporary relevance in Olaf reacting to freak weather phenomenons by saying "This is fine" and pointing out "advancing technology is our saviour and our doom". Elsewhere, the ecological threats which Arendelle faces strike close to the bone in an age of floods and hurricanes.  However, as dark as things get in the second half, we can expect our two sisters to put things right in spectacular fashion - It is a Disney film, after all. 

Ultimately, Frozen II often represents an example of "what could have been" - there are so many good ideas and interesting premises that a lot of the fun for fans and viewers comes from trying to make a more adult and focused film (or TV series) out of these pieces. That isn't necessarily a bad thing, as the same is also true of Disney favourites such as The Little Mermaid, The Hunchback of Notre Dame, and the original Frozen. However, Frozen II's messier story prevents it from reaching the heights of the best Disney films. If the quality of Frozen II's last half had been spread across the whole film, then it would be one of the all-time Disney greats. In its current form, Frozen II is in the "good but not great" category. It is superior to Ralph Breaks the Internet, their last overstuffed sequel, but demonstrates that Disney Animation need to return to a simpler and smaller approach if they want to reach the heights of their classic output. However, even second-tier Disney is worth watching, and Frozen II has enough merit to ensure that it will gain plenty of fans. 

Conclusion

Like the first Frozen, Frozen II brings new meaning to the term "refrigerator movie" - the story doesn't really stand up to scrutiny, but the visuals, songs and characters are strong enough to paper over the flaws and provide an enjoyable film with plenty for Frozen fans and casual viewers. Frozen II often bites off more than it can chew, but maintains the bold and modern spirit of the original film, and there are plenty of incredible moments which make the film worth sticking with. Frozen II is worthy family viewing, and will stand the test if time reasonably well. 

Once On This Island at the Southwark Playhouse - Review

Who Made It?

Once On This Island was created in 1990 by the duo Lynn Ahrens (who wrote the book and lyrics) and Steven Flaherty (who composed the score). It is based on the novella 'My Love, My Love' by Rosa Guy, which was inspired by Hans Christian Andersen’s classic The Little Mermaid. This production has been produced and created by the British Theatre Academy, with Lee Proud directing it

Once On This Island is being performed at the Southwark Playhouse, a small theatre in South London. It officially opens tonight and runs until 31st August.

What’s It About?

Once On This Island tells the story of Ti Moune (played by Chrissie Bhima), an orphaned peasant girl living on an island in the French Antilles. The peasants there are often at the mercy of the unpredictable weather brought about by four gods – Asaka, the Mother of the Earth (played by Johnathan Chen), Agwe the God of Water (played by Kyle Birch), Ezrule the Goddess of Love (played by Aviva Tulley) , and Papa Ge, the God of Death (played by Martin Cush).  Meanwhile, the Island elite, the grand hommes, live a life of luxury in grand hotels and apartments. When Daniel Beauxhomme (played by Sam Tutty), son of the most powerful grand hommes, crashes his car during a thunderstorm unleashed by Agwe, Ti Moune rescues him and nurses him back to health. In order to ensure his survival, she offers her soul to the Papa Ge. When Daniel is returned to his home, Ti Moune soon sets off on a grand quest to find him again, aided by Asaka and Ezrulie. However, Daniel may not be able to return Ti Moune’s love, and she finds herself having to face the consequences of her deal with Papa Ge…

Review

(Note: This Review Contains Spoilers) 

The Southwark Playhouse production of Once On This Island is the third production of this musical to be staged in London. The first took place in 1994 at the Royalty Theatre (later replaced by the Peacock Theatre) and won an Oliver Award for Best New Musical. The second was staged at the Hackney Empire in 2009. This revival is the smallest of the three, taking place in a 300 seat auditorium with a cast consisting of performers from the British Theatre Academy. However, it still manages to be a creative and colourful production, making a convincing case that Once On This Island should be revived more often in the UK.. 

Once On This Island returned to prominence in late 2017 as the result of an innovative Broadway revival which won a Tony Award. The version was notable for its “in the round staging”, and the Southwark Playhouse emulates this to brilliant effect.  When you walk into the auditorium, you cross the front of the stage and pass the actors as you get to your seats. There are washing lines surrounding the auditorium and tyres and boxes everywhere. As in Broadway, this immersive staging makes it feel like you have been taken to a world far removed from the grey tedium of the city outside the theatre.  The staging of that version is not the only thing copied here. Asaka (played by the legendary Sharon D Clarke in both previous London versions) is now played by a heavyset actor in drag, and the action is implied to specifically take place in Haiti (the map on the floor has Haiti illuminated). The recycled costumes form the basis for the masks used by the four gods.

However, the production (designed by Simon Wells) has some unique visual flourishes of its own. Daniel's car is depicted in impressively minimalistic fashion, and a small stepladder is used in several creative ways. The climactic effect, involving a very special tree, feels truly grand and impressive in the confined space. The production also features some incredible lighting (provided by Andrew Exeter), with intense changes in colour which really convey the mood of each scene and smoky light that really make you feel the heat and humidity of the setting. Audiences rarely give much though to the lighting, so it’s great to see so much effort put into this aspect of the production. Whilst this version is not as grand as the one on Broadway (there are no live chickens or goats here!) it is still pretty impressive on its own terms.

The director and choreographer is Lee Proud, who worked as an assistant choreographer on the long running West End adaptation of Billy Eliot and has directed other Southwark Playhouse productions . He does a solid job in this production. The ensemble give excellent performances, with the dancing being timed excellently and the effects being performed smoothly. During Ezrule's song 'The Human Heart', the ensemble all carry small jars of lights, enhancing the emotional power of the number. Given that the musical is approximately 85% music and 10% narration, the songs are the main attraction, and need to be really impressive. Fortunately, the performances have a real electric energy that makes the musical compelling to watch. In this context, the confined space is a real advantage, as it ensures that the power of the songs remains consistent throughout. The perfrmances could have fallen flat on a larger stage, but here, every member of the audience gets to fully appreciate the power of the instrumentals and the energy of the performaners.

As the performance is being given by youth actors from the British Theatre Academy, it is unfair to compare them to veterans like Lea Salonga, Clive Rowe and Sharon D. Clarke, who have appeared in previous productions of Once On This Island. However, there are times when their lack of experience is distracting. During big songs like "Waiting For Life" and "Mama Will Provide" they sometimes get drowned out by the loud backing band, although they generally recover and finish impressively. In addition, the gods and Ti Moune’s adoptive parents are best portrayed by older actors, as they provide the gravitas necessary for these characters to have full impact. However, the performers are all likeable and charismatic, and three of the were especially impressive. As Ezrule, Aviva Tulley initially seems to be overshadowed by the other gods, but her subtle performance conveys wisdom and compassion . As the sinister Papa Ge - the most antagonistic of the gods - Martin Cush has the wiry intensity required for the role, but has a couple of comic and even tender moments which he handles well. However, the best performance is from Chrissie Bhima as Ti Moune - she dominates the story. Though most of the musical is sung, Ti Moune gets the majority of dialogue, and proves excellent at conveying emotion during the darker and more dramatic moments. These three have the talent and ability to be headlining major musicals in the near future.

For all the great aspects of this production, it also reveals the main flaw with Once On This Island, which have prevented it reaching the status of better known musicals. The story and characterisation are relatively simplistic, probably due to the short 85 minute runtime and large amount of songs. The most significant addition to The Little Mermaid template is the "love defeats prejudice" message, but it feels a bit underdeveloped. The "Sad Tale of the Beauxhommes" , which explains why the grand hommes are fated to always reject the peasants, is played for comedy as much as tragedy, which is an unwise idea given the bleak and unpleasant reality of this subject matter (The Grand Hommes are descended from a slaveowner who cursed them after being booted off the Island during the a Revolution) Daniel’s shameful heritage puts a disturbing new angle in his reluctance to follow his heart, but this isn't explored. In fact, the only song to really exploit the prejudice angle is "Gossip", where the grand hommes voice their suspicions about Ti Moune. It is one of the strongest songs, and more of the numbers should have examined the hostility she faces. 

The focus on style over substance also means that the characters are a bit flat. Ti Moune is a very fiesty and single minded character, but it's hard to warm to a lead willing to risk her life for a guy who doesn't really know her. Daniel is a relatively two-dimensional male lead, and his song "Some Girls" is one of the weaker numbers, but he's well meaning enough to ensure that he remains somewhat likeable despite his bad decisions (the fact that Sam Tutty never buttons his shirt helps as well) The Gods have probably the most interesting arc, as Ti Moune's tenacity inspires them to show kindness and compassion, but they are absent for long stretches, especially during the middle.

However, fairy tales are not meant to be sophisticated explorations of human growth and complexity. Productions such as Once On This Island should primarily be judged on their ability to provide emotion, and this version resoundingly succeeds in that regard. The production generally remains upbeat and positive, but the sadder and more serious aspects are handled carefully and honestly. In the best The Little Mermaid tradition, the ending is both heartbreaking and heartwarming, and the concluding song, "Why We Tell The Story" is truly joyous. As great as the other songs are, "Why We Tell the Story" is the real stand out, with its catchy call-and-response hook and its inspirational but also thought provoking lyrics. Like the best fairy tales, its story is simple but its messages are deep. For all the catchy music and colourful visuals, Once On This Island powerfully demonstrates that one tenacious girl can overturn an entire unfair system.

Verdict

The Southwark Playhouse production of Once On This Island is an excellent treat for those willing to look past the West End and watch something smaller and more creative, The production highlights some of the limitations of the source material, but it also showcases its strengths. The soundtrack is excellent, the staging is unique and creative the main messages are valuable and relevant, even if they could have been emphasised more. This production is a wonderful burst of escapism and  we will hopefully get to see more productions of Once On This Island in London in the future.

Mary Poppins Returns - Review

Who Made It?

Mary Poppins Returns is a sequel to Disney’s 1964 classic Mary Poppins, which was loosely based on the Mary Poppins novels by P.L. Travers. The film is directed by Rob Marshall (Into the Woods), and the screenplay is written by David Magee (Finding Neverland) with Marshall and John DeLuca assisting in writing the story.

What’s It About?

Mary Poppins Returns takes place in 1930’s London during “the days of The Great Slump”. Since his life was changed by the magical nanny Mary Poppins over two decades before, Michael Banks (played by Ben Wishaw) has become an adult,  living with his sister Jane (played by Emily Mortimer), his housekeeper Ellen (played by Julie Walters) and three children  - the mature older siblings Anabel and John  (played by Pixie Davies and Nathaneal Saleh) and more adventurous younger child Georgie (played by Joel Dawson) . Since the death of his wife, Michael has been struggling to pay his bills, and he now has just five days to save his family home from the villainous banker William Wetherall Wilkins (played by Collin Firth). Whilst walking through the park, discovers the old Banks family kite in the air and follows it to discover Mary Poppins (played by Emily Blunt) who returns to Banks house to look after the children. Aided by the lamplighter Jack (played by Lin-Manuel Miranda) Mary takes Anabel, John  and Georgie  on a variety of fantastical adventures - including visits to an underwater world, a music hall populated entirely by animals, and an upside-down shop - whilst the Banks family try to find the documents which could allow them to clear their debts.

Review

(This Review Contains Mild Spoilers)

Released in 1964, Mary Poppins became one of the most iconic films in the Disney canon, winning several Oscars (and receiving a coveted Best Picture nomination).. Watching it today, it is not hard to see why it became so successful. The film is undoubtedly flawed - the characters are flat by modern standards, and many of the scenes go on for a very long time without advancing the relatively thin and simplistic story. However, these issues are minor in comparison to the timeless messages, elaborate special effects and inescapably catchy songs. Most importantly, the movie has a unique and magical atmosphere which can enchant audiences of all ages. In the 55 years since its initial release, Mary Poppins has inspired a long-running stage adaptation and even a film about how Walt Disney brought it to life. Given its enduring popularity, it is not surprising that Disney have opted to make a sequel, but the first film sets an impossibly high bar for Mary Poppins Returns. Mary Poppins Returns is not able to clear this, but it still manages to be a very good followup to the much-loved original.

It is no surprise to learn that the story of Mary Poppins Returns sticks closely to the template of the original. The Banks family are dealing with a crisis, causing Mary to fly in and look after the children. She takes them on a variety of adventures, including one which takes place in an animated world, and one involving an eccentric relative with a strange condition.  After the children cause chaos in the bank, they run away and get treated to a musical number by Mary’s sidekick and his workmates. Eventually, the story ends with the Banks family enjoying a high-flying celebration outdoors. Many of the memorable elements from the first movie also return to add to the nostalgic appeal. The talking parrot on Mary’s umbrella gets a larger role, and Admiral Boom is still firing cannons to mark the hour, although his timing is not as reliable as it used to be. In addition, we get a wide variety of smaller Easter eggs, and spotting them provides Mary Poppins fans with an additional pleasure. For all the callbacks to the original, there are enough changes to help Mary Poppins Returns feel like a continuation of the Banks Family story, rather than a full-on  retread. One of the highlights is the depiction of London. Whilst the original Mary Poppins was filmed entirely on soundstages, with matte paintings used in the background, Mary Poppins Returns provides us with a detailed world where Mary can work her signature magic. The exaggeration of the first film is mostly discarded in favour of making a relatively authentic depiction of London as it was in the 1930s. There are some anachronistic touches (Miranda’s patter during one song is pretty close to rapping, and we see several lamplighters perform modern BMX-style stunts on their bicycles during one sequence) but this generally is a successful depiction of a London which is grey and impoverished, but with magic and adventure nearer than anyone expects...

The one advantage this film has over the original is the characterisation. In the first film, Mr Banks was probably the only fully developed and realistic character. Originally Michael and Jane Banks were typical cute children looking for a respite from their rigid lifestyle, but they have developed into interesting characters here. Michael has been pursuing his dreams of being an artist, but his recent loss has forced him to grow up rapidly and find a job in order to raise money for his children. Michael is struggling to preserve his sense of childlike wonder in an inhospitable world, and this plays a key role in his growing frustration with the chaos which Mary always brings. His arc could have easily been a repeat of Mr Banks’ evolution in the first movie, but it genuinely feels unique. Meanwhile, Jane is following in her mother’s footsteps, running a charity to look after the poor and unemployed. Whereas the first film played Winifred Bank’s suffragette status for laughs, this one generally takes Jane’s activism seriously, and is all the better for it. The children avoid being annoying, with an intriguing contrast between Anabel and John (who had to grow up too fast) and Georgie, who is still unaffected by the pressures of adult life. As in the first film, Mary and her sidekick are relatively two-dimensional characters, primarily existing to generate change in the Banks family. However, they are engaging and charismatic enough to inspire and engage us, and they do an excellent job of promoting the incredible worlds which they are able to create. The story is stronger than the first film, but it is still a secondary element at best. The race to save 17 Cherry Tree Lane adds a welcome degree of urgency and allows the film to be a bit more focused. There is still plenty of padding, but the common threads linking the songs and fantasy sequences are stronger this time around. However, for every improvement, there is an unnecessary or pointless addition. The presence of an outright villain is understandable given the more dramatic storyline, but Wilkins is not interesting or threatening enough to please those who believe that the issues in the Banks family provide enough conflict for the film. Meanwhile, Jane’s activism is discarded in order to establish a romantic relationship with Jack. The two make a lovely couple, but the decision to put them together feels forced.

The two things which made the original Mary Poppins such an iconic film are the fantasy sequences and the songs. The fantasy sequences here are pretty impressive, taking advantage of the leaps in technology which have occurred over the last five decades.  Mary makes bathtime fun by taking the children on an underwater adventure, where they meet whales and giant ships. She then turns the paintings on a ceramic vase into an animated world populated by animals. The hand-drawn animation which made the “Jolly Holiday” sequence so iconic is emulated in impressive fashion here, with CGI being used to enhance painted backgrounds and sketchy hand-drawn animals reminiscent of the 60’s style of animation. However, as in the first film, the simplest effects are the best. Little moments of magic, such as Mary pulling a giant parasol out of a sink and disappearing into a bath, are even more impressive than the grand special effects sequences which follow. There are two big action scenes, which are a risk in a generally charming and old-fashioned film. In the Doulton Bowl sequence, Ananabel and Jon must rescue Georgie from a villainous wolf with a remarkable resemblance to Wilkins. The chase scene which follows is fairly weak, with Wolf Wilkins’s creepy facial expressions being the most notable thing about it. Conversely, the climax, which features Mary and Jack’s lamplighter friends invading Big Ben in order to literally turn back time, is genuinely creative and engaging. The new set pieces and effects lack the hand-crafted charm of the ones in the original, but they are still entertaining enough to feel genuinely timeless

The songs are written by composer-songwriter duo Marc Shaiman and Scott Wittman, best-known for creating the soundtrack to Hairspray.In addition to following in the footsteps of the first film, they have to compete with a growing number of recent musical hits, including Frozen, The Greatest Showman and A Star is Born. However, whilst these used contemporary musical styles to appeal to modern audiences, the soundtrack to Mary Poppins Returns is defiantly old-fashioned, consisting of ballads and jaunty uptempo numbers which would not be out of place in the musicals of the 1930s. The nine new songs written for Mary Poppins Returns all serve as direct substitutes for the numbers from the original, staying close to the Mary Poppins formula. To give a couple of examples, Jack’s signature song, “Underneath the Lovely London Sky” takes the place of “ Chim Chim In Nee”, (The theme tune of Dick Van Dyke’s lovable chimney sweep Bert) , whilst “Royal Doulton Music Hall” and “A Cover Is Not the Book” provide the same music-hall inspired entertainment as “Jolly Holiday” and “Supercalifragilisticexpialidocious”. Elements of the original score make their way into the movie, and concluding song  “Nowhere to go but up” also contains lines alluding to a couple of the old favourites. As the original Mary Poppins contained one of the greatest Disney soundtracks of all time, the new songs are fighting a losing battle and generally fail to match the iconic status of the original tunes. For instance, whilst “Trip A Little Light Fantastic” contains intricate lyrics with plenty of rhyming slang, it lacks the call-and-response charm and energy which made “Step in Time” such an enjoyable song. However, they have plenty of merit on their own terms. “Can You Imagine That?” is probably the catchiest number, whilst “A Cover Is Not the Book” adds a surprising amount of sauciness to this incredibly wholesome world (perfect for a music hall pastiche). Overall, the strongest addition is easily “The Place Where Lost Things Go”. This simple but lovely ballad allows the Banks children to come to terms with the loss of their mother, and a later reprise is one of the emotional highlights of the film. None of the songs from Mary Poppins Returns will be a major chart hit like “Let It Go”, “This Is Me” or “Shallow”, but that was never their intention, and they provide decent entertainment for the duration of the movie.

The cast for Mary Poppins Returns is incredibly impressive, but their performances are a mixed bag. Ben Wishaw, rapidly becoming one of Britian’s national treasures, probably gives the best performance in the film, capturing Michael Banks’ struggle to adjust to his difficult circumstances and keeping him sympathetic even as his seemingly hopeless situation begins to make him angry and frustrated. Emily Blunt starts out strict and aloof, but it does not take long for her to bring out Mary’s playfulness, and she captures the unique appeal of this iconic character. Davies, Saleh and Dawson do a decent job bringing the Banks children to life, whilst Emily Mortimer is lively if underused as Jane Banks . Hamilton creator Lin-Manuel Miranda brings a lot of charm and likeability to his first major film role as Jack. His London accent is not very accurate, but he never forces it too much, so it is a lot better than Dick Van Dyke’s infamous “Cockney” accent from the original.  For those who enjoy terrible accents, you don’t have to look too far. In the role of Mary’s relative Topsy, (whose repair shop has a habit of turning upside down), Meryl Streep provides a ridiculously thick and wobbly “Eastern European” accent which plays to all the stereotypes associated with the region. She is not the only big-name star who wastes their talents in this movie. Colin Firth provides a villainous version of his signature posh persona, but Wilkins is an incredibly flat villain, a stereotypical greedy banker with little screentime and few unique traits. Julie Walters is barely given anything to do, which is a tremendous disappointment considering her talent and experience. However, there are still some memorable supporting characters. Veteran actor David Warner is having a lot of fun as Admiral Boom, whilst Kobna Holdbrook-Smith is likeable and amusing as Wilkins’s kind-hearted henchman Frye. Dick Van Dyke turns up at the end in a memorable cameo as the elderly bank owner Dawes (son of the decrepit Dawes Sr. from the first film, and uncle of Wilkins), with his scene providing a touching reminder that the childhood magic promoted by Mary Poppins can have some incredible long term effects. Meanwhile, Angela Lansbury plays a balloon lady whose magical balloons are at the heart of the closing scenes. Lansbury is as lively as ever, but it is impossible to dispute that her scenes would have a greater impact if Julie Andrews played the role as was originally intended.

Verdict

Like the iconic original, Mary Poppins Returns is hard to judge by conventional standards. Technically, it is probably superior to the first Mary Poppins - the story is tighter and more engaging and the characters are generally better developed. However, the sequel lacks a lot of the spontaneity and novelty which made the original so special, and there are too many flaws and deficiencies in the narrative to compensate for this. That said, Mary Poppins Returns is still a good film, with excellent messages, appealing characters and impressive special effects. Therefore, audiences should check it out, regardless of their familiarity with the original. Mary Poppins Returns will not become a genre-defining classic like the first Mary Poppins film, but it is one of the better films from Disney’s often inconsistent live-action division, and people will be able to enjoy it for decades to come.

The World’s Best Frozen Fanfic

Out of all the Disney films, Frozen has the largest and most passionate fandom by some distance. This can be highlighted by the large volume of fanfiction based on the film, with almost 11,000 Frozen fanfics on fanfiction.net alone, and sites such as ArchiveOfOurOwn, Wattpad and Tumblr featuring even more Frozen-related stories. As a medium dominated by writers with little professional experience, fanfiction has a reputation for being very poor-quality. Some of this snobbery is justified, as many of the fanfics published on these sites are badly written, gimmicky and full of ridiculous changes and twists. However, several of the so-called “amateur writers” can provide stories which are worthy of comparison with the source material. Given the sheer volume of Frozen fanfics, it is possible to find dozens of high-quality ones if you look hard enough. These fanfics include straightforward sequels, stories which retell the events of the film from a different perspective, and ‘Alternative Universe’ stories that place our familiar characters into new world. Out of all the Frozen fanfics on the internet, the best is probably Frozen Wight, an epic 74 – chapter, 295,000 - word fan sequel created by an author called Thebandragoness. This fanfic blends comedy and drama to create a unique and enjoyable story for Anna, Elsa and all their friends and enemies. Not only is it worthy of being compared to the original film, it even surpasses it in a variety of areas. Fanfics tend not to receive detailed examination outside of the online fanfiction community, but Frozen Wight deserves to be shared with the wider world. This article will examine the story in greater detail to figure out why it is so excellent.

Frozen Wight is available on Fanfiction.Net and ArchiveOfOurOwn.

What’s it About?

Due to its epic length, Frozen Wight is split into four parts. The format is like a TV miniseries, with each part combining individual smaller adventures with a set of greater arcs and storylines which span the entire fanfic…

Part One (Chapters 1 - 15) – After the events of the film, Anna and Elsa must adjust to the recent set of changes to their life, as they try to keep Olaf under control and help Anna regain her lost childhood memories.  Meanwhile, volatile Ice Harvester Adrian becomes increasingly suspicious of Elsa and plots a coup against her with magical assistance from a mysterious figure…

Part Two (Chapters 16-37) – Elsa tries to cope with the pressures of being a queen, Anna’s attempts to pair her with dweeby bodyguard Fritz, and the threat posed by a sinister demon. However, a snowwoman called Mary, an imaginary friend from her childhood, comes to life and begins creating trouble.  

Part Three (Chapters 38-59)  – Elsa befriends a boy called Daniel with the same ice powers as her, but Anna becomes increasingly suspicious of him. Daniel helps Elsa take on the flamboyant dark fairy Brandr, but she soon realises that Daniel has a terrible secret and is plotting to use Elsa in a plan to gain revenge on the world which has shunned him.

Part Four (Chapters 60-74) – After Daniel takes away all of Elsa’s happy memories, she creates a second eternal winter and becomes increasingly dangerous and erratic, so Anna is forced to team up with Mary in a bid to cure her older sister. Meanwhile, an old enemy plots to escape jail and gain revenge on Anna and Elsa, but his schemes don’t go to plan…

Review

Frozen Wight is very hard to review in the traditional format, due to its large number of characters, themes and storylines, so this review will break things down a bit and highlight some of the things which make this fanfic a must-read for any writer, regardless of whether or not they are interested in fanfiction or Frozen…

Unique and Interesting Tone – Frozen Wight possesses a distinctive tone which builds off Frozen’s signature blend of comedy and drama to create something that is unique, but still reasonably close to the approach of the source material. After a brief prologue to introduce the sinister Wight, the story literally begins where Frozen left off, tying up all the loose ends left by the conclusion of the film. We see Elsa get properly introduced to Kristoff and Sven, learn what happens when Olaf meets the people of Arendelle, and find out how Hans’s misdeeds were exposed. This opening sequence establishes the tone of Frozen Wight pretty quickly, with silly and broad comedy getting combined a more serious exploration of Elsa’s fears and anxieties. From there, we go on to seeing Elsa face a variety of issues, ranging from renovating the castle and dealing with an incompetent and sexist Royal Council to fighting angry rebels and a demonic monster. The combination of mundane problems and extreme ones puts greater pressure on Elsa, and her range of responses provides her with much greater depth and nuance. It also manages to make Arendelle into an interesting and unpredictable world which is worth staying in for all 74 chapters.

Although the characters and story are the main strength of Frozen Wight, the creative writing also helps to elevate it. We get numerous great descriptions throughout the story, and there are several moments when the narrative voice intervenes to add some extra comedy. The contrast between extreme comedy and extreme drama should be jarring, but they are balanced really well. The comedy comes primarily from the characters and their dilemmas, ensuring that there is an element of truth and realism to it. Meanwhile, the most serious sections of the story contain bursts of wit and dark humour to keep things from getting too miserable. A list of some of the best lines from the fanfic can be found at the end of the review, but it barely scratches the surface – each chapter has plenty of unique and memorable descriptions and dialogue…

Love of the Source Material - It is obvious throughout this fanfic that Thebandragoness is a keen Frozen fan with a very detailed knowledge of the movie. Virtually all the characters from the original film are included here, from Anna, Elsa and Olaf down to the little kid who moaned about having to wear smart clothing to Elsa’s coronation day. Although this story is not a musical, the iconic songs from Frozen still make their presence felt, with brief excerpts of 'Love is An Open Door' and 'Fixer Upper' appearing, and several references to 'Let it Go' (including Olaf talking about his view of the famous sequence). We also get a variety of Easter eggs, including plenty of allusions to Frozen merchandise and material deleted from the finished film. There are sneaky references to Anna and Elsa’s appearance in Once Upon A Time and several spin-off books for children, and a few characters from classic Disney Animated films have cameos. If you are sick of all the Disney Animation references, there are also amusing references to other films, such as The Princess Bride and The Avengers.

A good portion of the comedy in Frozen Wight takes on a surprisingly meta tone, with various parodies of the Frozen fandom and plenty of digs at the preposterous romantic pairs frequently found there. One of the comedic highlights is a small subplot involving Anna and Elsa’s encounters with an artist who spends his time creating and selling “illicit paintings” (i.e erotic fanart) of Elsa with various romantic partners. There are also scenes with a couple of royal guards, Morten and Henrik, who spend their time discussing rumours about Elsa’s romantic life. These jokes at the expense of Frozen’s fandom could easily be mean-spirited, but even the most avid fans can realize how ridiculous all the romantic ‘shipping’ can get, and the mockery in this fanfic stays on the right side of the line between affectionate and cruel. Frozen is a pop-cultural phenomenon as well as a movie, and the acknowledgement of its unique status in the Disney canon allows Frozen Wight to be more than another continuation of Anna and Elsa’s story.

Big and Mature Themes – The comedy in Frozen Wight is used to balance out the darker excesses of an often serious story which provides a more detailed understanding of Elsa and her inner turmoil. This fanfic was initially called ‘The Trials of Elsa’, so it is no surprise that Anna’s troubled but brilliant older sister takes centre stage in this story. Elsa’s cyromancy (ice powers to you and me) is the overarching focus of this story as she struggles to come to terms with an incredible gift which stayed suppressed for so long. Having to deal with Olaf, Marshmallow and a new array of snow creatures feeds into Elsa’s uncertainty over how to use her powers, and this creates a lot of comedy and drama. One of the prominent threads running throughout the fanfic is Elsa’s struggle to deal with a drought affecting Arendelle. With climate change becoming an increasingly urgent issue following the heatwaves which affected the Northern hemisphere over the summer, this subplot feels incredibly timely, as Elsa ponders the ethics of using the fairytale equivalent of Geoengineering to solve the problems faced by her kingdom. You do not need cyromancy to understand Elsa’s fears and insecurities, and this is what makes her such a compelling protagonist.

The serious elements of the story are pretty heavy and disturbing at points. Elsa’s fragile mental health is a central issue in Frozen Wight, particularly in the second and fourth parts. In the second part, Elsa’s battle with Mary’s toxic influence provides a disturbing representation of the intrusive thoughts that often afflict obsessive or anxious people, with Mary forcing her to act on her worst instincts.  Mary corrupts Elsa through a mirror, echoing Hans Christian Andersen’s The Snow Queen (the inspiration for Frozen) and the damage she causes highlights the fact that losing control of your own mind can be scarier than any demon or snow monster. In the fourth part of the story, things get even worse as Elsa’s happy memories are removed, turning her into a paranoid and dangerous character who begins sliding into monster territory. Elsa’s extreme turmoil is explored in a disturbing amount of detail. Parallels are drawn between Daniel and the numerous real-life predators who destroy women’s lives to live out their fanatical fantasies, and this make it clear that Elsa is as much of a victim as a villain in this section of the story. The scenes where she loses control and starts freezing her friends are genuinely disturbing, because we know that her breakdown is based on fear rather than malice. Things reach their climax when Elsa accidentally hits Anna with an extra-potent version of the “Frozen Heart” curse from the first movie, making things even more difficult for Anna, as she seeks to prevent Elsa from losing control of herself and her powers for good. Anna’s race against time to save herself and Elsa is intense and dramatic, with a powerful resolution which  makes the eventual happy ending all the sweeter.

In addition to providing drama and philosophical conundrums, Elsa’s struggles are used to generate plenty of important messages. Beneath all the chaos, the primary message of Frozen Wight is an excellent one - you should never let tragedy and trauma define you. Elsa’s relationship with Anna, Kristoff, Olaf and the rest of the “Frozen Family” emphasizes the need to preserve our bonds with the people who can support us when things get difficult. These messages are consistent with the themes and ideas explored by the original film, but take them far further to provide a more sophisticated and detailed examination. Elsa is a role model for many people with mental issues, and the exploration of her struggles here gives this fanfic an emotional impact and maturity. Like most fanfics, Frozen Wight is aimed at older audiences, but whilst many of these stories misuse the “more adult” tone, Frozen Wight gets the balance correct, adding more drama and danger without feeling gimmicky or needlessly shocking.

A Strong Supporting Cast – Although Frozen Wight is primarily about Elsa and her powers, its grand scale and elaborate narrative means that the other characters from the Frozen Universe also get plenty to do. If Elsa is the primary protagonist of Frozen Wight, then Anna is a pretty powerful deuteragonist. The emphasis on Elsa over Anna leads to some changes in their dynamic. With her attempts to play matchmaker for Elsa and Fritz and a newfound obsession with punching all her enemies in the face, Anna gets a lot of quirky and goofy moments, and can border on being a comic sidekick at times. However, when push comes to shove and Elsa needs her help, Anna proves to be the kind, brave and tenacious protagonist we all know and love, fully earning her heroine status. A traditionally-built, inanimate snowman with handprints over the heart becomes a powerful symbol of Anna’s unconditional love for Elsa, and the scenes in which it is used are the most powerful and moving in the fanfic. The bond between Anna and Elsa is the one thing which made Frozen truly iconic, and Frozen Wight treats this important relationship with the respect it deserves.

It is not surprising that Elsa’s snow creatures also have a prominent role. Olaf is his usual blissfully happy, heat-obsessed self, and gets some hilarious lines in this story. We learn about his inability at keeping secrets and get a running gag about his obsession with the curse words which he hears Anna using once too often. Hearing the innocent and childlike Olaf use profanities which rhyme with “witch” and “wrap” is one of those things which should just be cheap, lowest-common denominator humour, but turns out to be hilarious due to his total lack of awareness or malice. Elsa’s intimidating snow monster Marshmallow has an expanded role as well, as we learn about his relationship with Elsa – beneath his menacing exterior, he loves his creator just as much as Olaf does. In addition, we get several mini-Marshmallows, a set of talking birds made from pure snow and a living, walking snowball who provides some much-needed cuteness during the intense later chapters.

Anna’s allies from the original film also get some memorable moments, although they are somewhat less significant compared to the more complex and entertaining characters surrounding them. Kristoff retains his “anti-social straight man” personality and gets some good lines, but he and Sven are slightly overshadowed by the other members of the cast. Pabbie retains his role as the magic expert, providing exposition to make the complicated magic and mythology easier to understand. Although he generally uses his magic to help Anna and Elsa, Daniel eventually forces him into doing things which create problems for our protagonists. Meanwhile, the rest of the trolls get involved in the romantic tangles at the centre of the story, providing unreliable advice for Anna, Elsa, Kristoff and Fritz. Given that he is one of the most overused characters in Frozen media, the eccentric Sauna salesman Oaken appears surprisingly little in this story. However, the character is given various identical-looking cousins who run other businesses in Arendelle and generate a lot of extra silliness – Thebandragoness could have easily ran this concept into the ground, but thankfully manages to handle it carefully. Overall, Thebandragoness stays true to the essence of Frozen’s main characters and gives them a lot of great new material.

Great New Characters - There are also a variety of interesting new characters to enjoy. Aside from the villains (mentioned in further detail below) the two most prominent are Anders, the chief of staff, and Fritz, an awkward young bodyguard hopelessly infatuated with Elsa. Anders is a stereotypically posh and stuffy assistant and gets a variety of dry and snarky lines, but the caring and compassionate elements of his personality still shine through. When he is forced to babysit Olaf, he initially finds the wacky snowman insufferable, but soon begins to form a sweet little friendship with him. Fritz is another major source of comic relief in the story, getting involved in a complex romantic subplot involving Elsa, Anna, Kristoff, a bullying and macho bodyguard, and a sickeningly sweet member of staff. Whilst the romantic subplots are relatively convoluted and can feel like filler at times, they yield a lot of great comedy. With his ghastly mother, a complete lack of social skills and a job he is hopelessly unqualified for, Fritz is incredibly out of his depth in the royal world, but he is likeable enough to root for, and its pretty satisfying when things finally start to go his way. Besides these characters, other new additions to the Frozen universe include Mrs. Dale, Adrian’s wise and kind wife, and Admiral Klaus, a tough military man who has his own personal reasons for taking interest in Elsa’s cyromancy. Both of these characters are engaging and three-dimensional, with revelations about them later in the story add to their depth and complexity.

Excellent Villains - Whilst the villains are one of the weakest aspects of the original film, the villains in Frozen Wight are among the highlights of the story. There are six main villains (seven if you count “Evilsa” – the brainwashed and crazy version of Elsa from Part 4), of whom four are completely original characters. These four new additions are all memorable antagonists who present Anna and Elsa with formidable challenges. Daniel is the best of these, representing an excellent evil counterpart to Elsa whose tragic past has driven him insane and turned him into a nihilistic demon who has decided to embrace the death and destruction he associates with his ice powers. Mary has one of the biggest character arcs in the story, as she goes from demonic creature seeking to control Elsa to vulnerable and sympathetic snowwoman who realises that her fears and anxieties are not so different from Anna’s. Both characters are given depth through a variety of flashback sequences, which explain how they came to pose a threat to Anna and Elsa. These sequences add horror and tragedy to Frozen Wight, with Daniel’s backstory being especially harrowing – his behavior may be deplorable, but it is certainly easy to understand how he ended up becoming a monster. In contrast to Daniel and Mary, Brandr has no internal depth or complexity, but is still a twisted and entertaining villain. With his fast-talking, obnoxious personality and complete disregard for human life, he feels like a more extreme version of Hades from Hercules and is as much of a scene-stealer as this description implies. Adrian is a smaller villain, only causing trouble in the first part, but still has a considerable impact, particularly when we find out WHY he wanted to kill Elsa. This devastating revelation fuels Elsa’s doubts and uncertainties about her powers and adds depth to a villain who previously seemed like a prejudiced thug. It needs to be stated that none of these villains are suitable for children. Brandr’s flamboyance means that he is the closest to a traditional Disney baddie, but this is still a character who boasts about killing a child cyromancer and plots to replace all of Arendelle’s little children with demon changelings. The total lack of family-friendliness gives this story a bite which provides urgency and high stakes to prevent this being an excessively upbeat and silly farce.

Compared to villains like Daniel and Brandr, The Duke of Weaseltown Weselton and Prince Hans, the two villainous characters from the original film, no longer feel like threats, and their portrayal in this story reflects this. Weselton was always more of a boorish and ridiculous ‘hater’ rather than a true menace, and Frozen Wight stays true to this characterization. During the second part, Elsa is forced to negotiate with him to form a new trading agreement, leading to a lot of the awkward and amusing comedy generated by forcing our protagonists to be nice to someone who they find totally insufferable. Needless to say, the uneasy business partnership does not work out. It is a lot more surprising to see Hans played for laughs as well, but this is handled really well here. Most Frozen  fanfics portray Hans as a troubled but redeemable young man or a completely evil supervillain, so it is refreshing to see this one try something different, and the material is funny enough to justify the more comedic interpretation. The Hans we see here is still a scheming sociopath, but feels pathetic instead of threatening, as he spends most of his time formulating impractical and ill-conceived plots from within his jail cell whilst picking his nose and getting increasingly miserable about the fall from grace that he brought upon himself. The confrontation between him and our two sisters towards the end of the fanfic is incredibly one-sided, demonstrating how far Anna and Elsa have come over the course of the story. It’s telling that whilst Weselton and Hans are mere sideshows in Frozen Wight, their portrayal here is more interesting and entertaining than they were in a film where they were the central antagonists.

What Are the Negatives?

This is an excellent fanfic, but it has its flaws as well, and whilst these are relatively minor, they are still worth mentioning. The epic approach of Frozen Wight is one of its strengths, but also generates some problems. The second and third parts can get a little baggy at times, with the issues of Anna and Elsa’s daily life sometimes distracting from the bigger picture. The mythology of this story, involving magical swords fuelled by hate, evil fairies and a mythical cyromancer called Mother Winter who turned the entire world into a snowy wasteland, is incredibly convoluted and not easy to follow, going against the fairytale simplicity which makes Disney films so appealing. There is also a problem with the otherwise excellent final chapter. The concluding scene involving Daniel reuniting with a figure from his past ends his story on an ambiguous but surprisingly hopeful note (Without going too far into spoiler territory, his final fate is similar to that of The Moon King in Kubo and the Two Strings). However, it would have been more satisfying to intercut this with Anna and Elsa’s final conversation together, a simple, moving and sweet scene where Anna provides Elsa with support as she comes to terms with the awful ordeal she went through over the fourth part of the story. Ultimately, the most powerful element of  Frozen Wight is  the unbreakable bond between two sisters and seeing them put their handprints on Anna’s snowman one last time would have been the perfect full stop for this tale.

What Else has TheBanDragoness Written?

Thebandragoness has provided two sequels to Frozen Wight. They are considerably shorter, but still packed with the humour and drama that are the author’s trademark. Anatomy of A Snowwoman is centred on Mary and her struggles to find meaning in her life. It continues in the tone set by Frozen Wight, with Elsa travelling to a kingdom who worships her as a goddess and dealing with a mysterious force which turns all her snow creatures (even Olaf!) into rebellious monsters. Fritz: The Musical centres on Fritz’s romantic misadventures and features parodies of numerous famous Disney songs. Both of these stories have plenty of great moments, and are worth checking out, but Frozen Wight is still the best story in Thebandragoness universe by some distance, due to its epic scope, great humour, powerful dramatic moments and its excellent depiction of Anna and Elsa’s sister dynamic.

Verdict

Although there are times where it feels a bit excessive and self-indulgent, Frozen Wight is a must-read for Frozen fans, and even those who despise the Disney megahit will find something to enjoy in this fanfic. With its creative combination of funny, sad, scary and heartwarming, the story deepens our appreciation of the characters in the Frozen universe whilst also adding some excellent new elements to their world. Ultimately, Frozen Wight sets an extremely high bar for Frozen 2, and it provides proof that committed and talented amateur fans can provide a sequel capable of standing toe to toe with the best from Hollywood.

Best Lines

 “Here’s a secret. All politics is just a bunch of old rich people who hate each other being locked in a room to argue about boring legal stuff” (Chapter 1)

“In the span of a week, the castle had gone from a quiet, dignified albeit empty, house of royalty to a place where sentient snowmen ran amok and princesses dated hairy mountain men. It was starting to dawn on Anders that the only thing standing between order and hair-splitting madness was one elderly and overworked butler” (Chapter 3)

“Anna: Discussing Talking Snowman philosophy is great and all, but can we please get back to fixing my brain now?” (Chapter 6)

“Anna: When you ran away just now, I was so scared, I didn’t know what you were going to do, and, well, between today and yesterday, I guess we both almost lost each other. And all I could think of was how we needed to build a snowman again because… if we built the snowman, then…then you would know…that  I don’t care what happens, or what you’ve done, or what you think you’ve done. I love you no matter what.” (Chapter 15)

"Anders thought back to the conversation he'd had with Elsa the previous day. He was glad to see she'd dealt with the issue in her own unorthodox way. He just wished her way hadn't involved freezing the whole castle, that was all. Sudden, drastic change and finicky old men didn't agree with each other." (Chapter 17)

“Olaf: I’m great at keeping secrets! Like the time I promised Marshmallow I wouldn’t tell anyone he wants to wear women’s clothing!” (Chapter 29)

"Anna glanced back long enough to scream "Evilsnooooooowmaaaaaaan!"

Okay, Kristoff was seriously confused. But then an ice-creature charged after her down the hallway, and he pieced things together.

Lesson Learned: Never try to surprise Anna. She will outdo you every time" (Chapter 33)

"Brandr: Please, must this end in violence? […] Wait, who am I kidding? I love violence." (Chapter 37)

"Olaf: First Elsa wears boy clothes, then I wear girl clothes...What a day for gender roles, right? Wait. Do snowmen have genders?" (Chapter 55)

“Anna had learnt a valuable lesson. No matter how bad a person could seem, they can always realise their mistakes and find redemption.

Except Hans. Screw Hans. Anna hoped he was having a miserable time in prison.” (Chapter 65)

“Morten the Guard: Why can’t the queen stay single, huh? Her life seems fine without romance in it! And its not like there aren’t already a gazillion royal chicks out there who turn romance into their defining trait! Why can’t Queen Elsa stay special? Why can’t she be a strong, independent person?” (Chapter 74)