Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez

Directed by Georgia Brennan

Musical Direction by Jack Gardner

Choreography by Taylor Doig

Review by Dominic Corr

Broughton High School

Sneaking in ahead of the ‘official’ Edinburgh Festival Fringe opening, audiences have a window to catch what is likely to be one of the musical highlights of the season. By grassroots performance standards, Frozen will no doubt lift itself to the very tops of the entertainment mountains; delivering spectacle, heart, and more than a ticket’s worth in terms of humour. And while Broughton High might seem a bit out of the way (that is the purpose of the Fringe anyhow), and starting a little earlier than many festival goers arrive, a little bit of a challenge never bothered the sensational team at Forth Children’s Theatre anyway.

Few contemporary musicals carry the weight of expectation that accompanies Frozen. What began as a global cinematic phenomenon has since evolved into a stage spectacle that demands technical precision, vocal excellence and a sincere emotional core. In Forth Children’s Theatre’s ambitious production, under the helm of Georgia Brennan, that challenge is met with confidence. An ensemble who have done their homework in characterisation, and a few nice surprises and side-steps from the big-budget Disney extravaganza, the sheer quality of the performances and the company’s unwavering commitment to storytelling ensure an evening that frequently impresses and often delights.

Based on the stage adaptation by Jennifer Lee, with music, lyrics, and additional songs by Kristen Anderson-Lopez and Robert Lopez, Frozen expands considerably upon the source material. The focus remains firmly on the relationship between sisters Elsa and Anna, but the musical affords greater space for emotional reflection and character development, particularly through its expanded score. Forth Children’s Theatre clearly understands that at the heart of the snowstorms, spectacle and familiar songs lies a story about grief, responsibility and unconditional love; and it shines, not only in the story, but in the cast and crew.

Director Brennan approaches the material with admirable assurance, maintaining momentum throughout a sizeable production while ensuring the emotional journey remains clear. It’s not the speediest of shows, but it does fit into a very comfortable two hours (with an interval), maintaining the pacing and enjoyment. The scale of the undertaking is immediately apparent, with a substantial cast, complex technical demands and a score that rarely gives performers an opportunity to rest. Brennan’s direction largely navigates those demands successfully, creating a production that feels lively, accessible and emotionally coherent.

At the centre of the production are two exceptional performances. As Anna, Lara Shanks delivers a portrayal rich in warmth, comic instinct and emotional honesty. Characterisation is Shanks’ strongest asset, and leads the cast in capturing the now-cultural figure of the role, while maintaining a mark of ‘their’ performance. Anna’s optimism can easily become one-dimensional, yet Shanks finds nuance throughout, creating a young woman whose determination feels genuine rather than naïve. Vocally, she handles the demanding score with remarkable confidence, while her natural comic timing provides many of the evening’s most engaging moments.

Opposite her, Isla Nisbet brings impressive depth to Elsa without attempting to blow the roof off. The role demands both commanding vocal power and restrained emotional vulnerability, and Nisbet demonstrates both qualities throughout. Her interpretation captures the character’s isolation without ever allowing Elsa to become distant from the audience. Major musical moments land effectively because they emerge from character rather than spectacle alone, with Nisbet maintaining a strong emotional throughline across the evening.

The chemistry between the two performers proves essential to the production’s success. Their shared scenes provide genuine emotional weight, particularly during the musical’s more intimate moments, reminding us that Frozen works best when viewed not merely as a fantasy adventure but as a story about family.

Among the supporting cast, Ryan Guthrie‘s take on Hans is precisely what the show calls for in the role (spoilers for even those few who have never seen the show), with a voice that matches the Prince’s steong range. But it is Maisie Aitchison who provides an assured and charismatic Duke of Weselton. While often portrayed as little more than comic relief, Airchison finds a pleasing balance between humour and character, ensuring the role contributes meaningfully to the wider world of Arendelle. With a smaller role than some, Jac Simpson-Hobbs offers a likeable Kristoff, and their occasional solo numbers come with a vocal strength, while Sean Tomassi embraces Olaf’s infectious enthusiasm without resorting to caricature; it’s a stand-out in recognising the character’s strengths. Adding in the charm, elsewhere, Keira Swain and Ava Clark establish the emotional foundations of the story impressively as the younger Anna and Elsa.

But if we’re talking comedy, music, dance, and character, look no further than Olly Freeman-Ferguson’s Oaken, who stuns in the Act Two opener, Hygge. Kooky, camp, and filled with some of the show’s tightest moments – it’s a sassy demonstration of Doig’s choreography at its finest and most attuned level. Anyone who is a fan of a bit of tap will be in for a right treat. While the choreography frequently makes excellent use of the ensemble, movement can feel less integrated elsewhere. These instances are relatively minor within such a large-scale production but occasionally interrupt the otherwise polished execution, as some of the ensemble struggle to make marks or draw attention to their misses.

Visually, the production is undeniably ambitious; the mixture of Tam Jardine’s physical staging combines with digital environments created by Callum Farrell to construct a constantly shifting theatrical landscape. Yet this is perhaps where the production occasionally overreaches; most notably within signature number Let It Go, where the choices in visual flair stretch into questionable territory (fluorescent lightbulbs mixed with fairytale sparkle make a jarring contrast). The frequent reliance on projected imagery sometimes distracts from the performers rather than enhancing the storytelling; where a backdrop works well, the ‘less is more’ mentality could have been a large benefit for the team. At its best, the digital design expands the scale of the world; at its weakest, it draws focus away from the human drama unfolding on stage.

Musically, however, there is little to fault. Under the direction of Jack Gardner, the band provides a rich and energetic accompaniment throughout, with no dip in quality, and no break of illusion. The ensemble numbers are particularly effective, showcasing the depth of talent within the company. New songs which audiences may be less familiar with, such as Monster and I Can’t Lose You, demonstrate not only strong vocal technique but considerable emotional maturity from the performers involved.

With the re-opening of The King’s Theatre, the community theatre in Edinburgh returns to its peak; something Forth Children’s Theatre know all about. In a nation where there is an increasingly crowded musical theatre landscape (RIP Trainspotting the Musical), Frozen stands as another reminder of the remarkable standard that Forth Children’s Theatre continues to achieve. This sense of ambition showcases a group who is ready to move with the advancements of the times; consistently approaching major musical theatre titles with professional-level commitment. The production succeeds because its heart remains firmly fixed on character, relationships and performance – on and off stage.

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