Review: A Frozen Wonderland Takes the Stage at the Gateway Playhouse on Long Island

Audiences will be clamoring to build a snowman after they see the Gateway Playhouse’s magical production of Frozen, now playing through April 13 in Bellport, Long Island. Adapted from Disney’s beloved 2013 film, this incarnation retains the spectacle of its 2018 Broadway predecessor, showcasing the enchantment in a much more intimate setting.

The story follows two princesses, one with uncontrollable powers, and her sister who is longing for human connection. The extended score from Kristen Anderson-Lopez and Robert Lopez features a few too many ballads; however, Frozen’s overall power resides in a story (penned by Jennifer Lee) that marks a powerful anthem for women and sisterhood.

The wintry tale opens in the kingdom of Arendelle where Young Anna (Pepper Coleman) and Young Elsa’s (Sonnie Betts) back stories are revealed. When Young Elsa unleashes her powers to manipulate ice and snow, she accidently hurts Young Anna. Years of guardedness and isolation ensue.

Flash forward to adulthood, when adult Elsa (Charissa Hogeland) and Anna (Emily Grace Tucker) have lost their parents to the sea and Elsa must rule the kingdom while suppressing her powers. Tucker’s Anna is sublime, conveying the loving naivete of the titular character with grace and playfulness. Hogeland’s Elsa is more subdued, but has a voice that carries to the Long Island Sound. Her climactic “Let it Go” closes out Act I with brilliant conviction. Both of their younger counterparts are stellar, with an infectious energy and childlike enthusiasm that sets the tone for the show.

Anna’s initial love interest, Hans (Mark Ryan Anderson), is dopily entertaining when he duets with the princess in “Love is an Open Door,” but it’s the lovable snowman Olaf who steals the show when he comes to life both onstage and off. Actor/puppeteer Wesley Slade gives unabashed personality to the adorable, summer-lovin’ creature as Anna sets out on a journey to find her sister.

The other infamous puppet, Sven (accompanied by Christian Brailsford’s cookie-cutter Kristoff) is awkwardly out of its element, with a design that resembles a dopey Times Square character crossed with a Disneyland dropout.

The actors perform choreography on par with that of a Broadway production, which is no surprise with Broadway vet Angie Schworer (The Prom, Some Like It Hot) at its helm. Schworer’s robust, cheerful numbers are incredibly uplifting, with the opening number especially unique.

Michael Downs’s scenic design is as colorful a candy land, bursting with details as it transforms from the princess’s bedroom into a wintery fortress. The set is coupled with Riley Noble’s exceptional lighting, which does its best to complement Michael Commendatore’s somewhat dim projections.

Elsa’s powers are entirely dependent on the “trickery” of her pointing into the distance as “icicles” appear on the walls; yet, at times, audience members  completely miss these moments due to their subdued, ineffectual nature. The sparkle is more resonant in Jacob Locke’s costumes (especially the now iconic costume change that concludes Act I). The apparel is based on that of the film, though the pieces here are original in their own right.

The Gateway has spared no creativity in making Frozen a frosted treat for children. Complete with a lobby (and restroom!) decorated as a wintery wonderland and coloring books for little ones, there’s surprises before the show even begins.

Larry Raben’s thoughtful and intelligent production feels steps away from the caliber expected in New York City. From the first notes to the last literal snowflake that floats onto entranced audiences, this Frozen is far from a fixer upper, it’s the perfect way to end the winter season. One might not imagine that a production on secluded eastern Long Island farmland would be this fulfilling; however, unless one’s heart is made of ice, anyone would enjoy this production of Frozen.