Frozen film on Disney Plus review – the storm rages on in style

While the streaming bubble may have led to a less-than-ideal new world for cinema, it has been a true gift to the theatre industry. Now, with platforms like Disney Plus, Apple TV or Netflix, stage fans across the world have the chance to see world class productions at a fraction of the price – captured with painstaking care and premium results.

This is especially true of the new capture of Disney’s Frozen, which will sit cheek by jowl with the previously released Hamilton on the House of Mouse’s streaming platform from today. Clocking in at 110 minutes or so (roughly the same as its big screen counterpart), it’s a top-tier record of a show that wowed hundreds of thousands of viewers at Theatre Royal Drury Lane from 2021 to 2024.

Michael Grandage’s stage version of the animated classic (about a confidence-stricken queen whose magical cooling powers – which would be very handy right now in this heatwave – causes disaster for her nation) is a gift to any filmmaker wanting to create a dynamic recording – one capable of keeping the tweens entertained for a night’s home entertainment. Christopher Oram’s lavish sets, Neil Austin’s succulent and saturated lighting and Finn Ross’s giant canopy of a video design all mean the frame never feels stagnant or uninspired, while the film’s stellar sound mix mean you can hear every decision made in Stephen Oremus’ musical arrangements.

The cast also supply the bubbly, larger-than-life charm that suits Disney Animation films so well. Samantha Barks’ stoic Elsa thaws and soars as her frosty exterior gives way to heartwarming charm – “Let It Go” is as much a showstopper on film as it was on stage. It’s fantastic to have a fully realised version of the new number “Monster” also committed to camera.

Just as impressive is Laura Dawkes, arguably the beating heart of the show as younger sister Anna. Cartwheeling, skating and can-caning her way through the frozen tundra with comedic verve, it’s startling to think that this is her stage debut – and wonderful that a rising talent will be given an international platform to show her skills.

The film format supplies opportunities not available on stage. Initially, the camera work mimics an audience’s perspective – relatively conventional mid-shots and wide shots are used to establish the world of Arendelle. Slowly, things become more ambitious – gimbals during altercations whip the viewer between characters as if they themselves are stood on stage. Close-up camera angles betray emotions and reactions the audience wouldn’t be privy to – which ends up heightening the relationship between the two sisters at key points in the show. We start as spectator, and end as community member.

Speaking of: the best moment in the show comes, in fact, after the curtain call – when the audience is transported backstage to see a whole crowd of creatives – from musicians, to stage crew, to chaperones, to composers and to the cast, huddle together in celebration. It’s a touching tribute to the small village involved in wowing audiences night after night.

In a world where so many musical theatre fans get their fix through flimsy bootleg films on TikTok, it’s important for producers to try new things and reach audiences through the digital space. Hopefully a night watching Frozen at home may encourage a viewer to see which other musicals may be playing live at their local theatre.