The backstage magic that brings Frozen the Musical to life

With 38 cast members, 440 costumes and 65 tonnes of scenery and automation, each performance of Frozen the Musical is a mammoth team effort.

When audiences are swept far away to the world of Arendelle, absorbed in the magic of theatre, they have no idea of the years of work that have helped them take that journey.

But the fact is, a show as massive as Frozen began as soon as Disney theatrical producer Tom Schumacher saw a screening of the film in 2013.

He immediately saw how it could adapt to the stage. It opened on Broadway in 2018, in Sydney last year and is presently at Her Majesty’s Theatre in Melbourne.

Production stage manager Matthew Henderson started working on the show three years before it opened in Australia and is chiefly responsible for the tightly run show that captivates audiences eight times a week.

“Backstage is really controlled chaos,” Henderson says.

“What we all strive for is that if there’s the slightest hiccup no one in the audience would even know. Luckily, we all know what we’re doing so not much goes wrong and it’s very smooth.”

Cast members Matt Lee as Olaf, Jemma Rix as Elsa and Courtney Monsma as Anna. Picture: David Caird

But plenty could go wrong when dealing with groundbreaking technology, 38 cast members, 440 costumes and 65 tonnes of scenery and automation.

Henderson likens his job to being an air traffic controller. He receives information from all departments, Disney offices around the world, producers, the cast, the venue, the crew, wardrobe and musicians.

“I’m kind of like a sponge and a big part of my job is making sure it all runs smoothly backstage,” he says.

“I’ve often said that the show backstage is just as entertaining in many ways because there’s so much going on.

“Our cast and crew are genuinely nice people, which is so rewarding. You really do all become a tribe together and that comes across in our show which is really gelling together perfectly.

“It may be a long-running show but it’s never the same because it’s live every time. The audience keeps showing us new moments that make them laugh and that keeps it fresh too.”

The elements that unite to get a show up and running have to work well independently and together to ensure the timing, connection and energy is perfect.

THE TECH

Frozen technical director Mark Henstridge likens the show to assembling a gigantic piece of Ikea furniture.

“If you’re missing one vital piece, the whole thing falls apart,” Henstridge says.

When the show shifted from Sydney to Melbourne earlier this year, it took 22 trailer trucks to haul the massive sets and rigging down the Hume Highway.

Henstridge, who has worked with Disney for 15 years, had to co-ordinate at least 100 people to make the transition run smoothly.

Stage manager Ryan Hynes at work during a show. Picture: Lisa Tomasetti

Once the show was bumped into Her Majesty’s, a whole new set of challenges presented as he is responsible for all of the technological elements that bring it to life.

LED projections turn the entire set into an ice world. The 30 tech and backstage crew arrives at work two hours before curtain to check those projections are perfect.

“We all have to be at the top of our game with these shows,” he says.

“LED and projection is a massive part of the show so that it looks like the whole stage and castle is frozen over so timing is crucial.

“We have to make sure the whole spectacle flows perfectly.”

THE TALENT

Put 38 highly talented professional performers together and some sparks are set to fly.

It’s the job of resident director Benjamin Osborne to ensure those sparks make magic, not mischief.

“I’m very lucky with this cast because they’re self-reliant and you always get the best out of people if you treat them with respect,” Osborne says.

“It’s really about inspiring people who are doing the same thing eight times a week, which is really a marathon. So it’s up to me to create a culture backstage that is loving, giving and respectful. We’re a family, really.”

Head of hair, wigs and makeup Kellie Ritchie gives cast member Jakob Ambrose (Pabbie) a make-up touch-up backstage. Picture: Lisa Tomasetti

Matt Lee (Olaf) and Jayme-Lee Hanekom (Bulda) backstage. Picture: Lisa Tomasetti

Much of his time is spent rehearsing understudies and swings to ensure they’re ready to perform at a moment’s notice.

He was in New York in 2018 for the US auditions of Frozen and was key in the Australian cast auditions. He knew exactly what range of talents was needed to help convey the much loved characters and storyline.

“We’re still in constant contact with all the creative team overseas and I watch six shows a week, take notes on performances while also giving them breathing space,” he says.

THE COSTUMES

There are 440 costumes in the show but there are two that take spectacular to another level.

Anna’s coronation dress is richly decorated with Norwegian folk style embroidery, which has all been done by hand.

Elsa’s ice dress is like a character in itself, featuring 14,000 hand-sewn beads and crystals on the dress, train and cape.

For costume design associate Janet Hine, the final of four fittings on star Jemma Rix (Elsa) was an emotional moment.

“Jemma was in tears when she saw the result of all that work coming together, which shows how much she respects the costume,” Hine says.

“That amount of detail in the costume, flows right through the performance and the entire show. It

Lochie McIntyre, who plays the reindeer Sven, backstage with dressers Seraph Apollo Maena and Sophie Webber. Picture: Lisa Tomasetti

Elyse Horne, wardrobe maintenance, works on Elsa’s costume. Picture: Lisa Tomasetti

The ice dress scene involves a super quick costume change and it’s always a moment when everyone backstage stops because it’s such a big moment.

Hine’s team worked tirelessly to perfect the costume and ensure nothing could go wrong.

About six months before the show opened in Australia, Hine enlisted a team of 70 shoemakers, milliners, dressmakers and artisans to create the costumes. Now there’s a small, highly skilled team to maintain the costumes.

“Maintaining the beads on the ice dress is insane,” she says.

“We have a girl backstage replacing any lost beads on that dress again every few days to stay on top of it. We don’t ever want to be compromising on quality.”

THE DANCING

Audiences may love the high-energy dance scenes in Frozen but the on stage action is only a fraction of the work dancers do every day to stay show fit.

Off stage they are doing classes – pilates, yoga, gym, dancing and there is a company physiotherapist on hand to treat any injuries.

There’s also resident choreographer Emma Delmenico-Smith to smooth out any movement or emotional issues.

Assistant dance captain Anthony Sheppard with dressers backstage.

There are some particularly taxing scenes in the show, especially for the male dancers because there is a lot of partnering in the choreography.

In the ball scene, the weight of the ball gowns is adding an extra 5-10kg on the men’s shoulders when they lift their dance partners.

“Sven (the reindeer puppet) is also tough because the dancer is on his hands for the entire show and he’s only off stage for a couple of minutes,” Delmenico-Smith says.

“Fortunately, this is an art form and everyone loves what they do. They know how lucky they are to be able to work in this show, in an extraordinary company.”

Aside from eight shows a week, Delmenico-Smith holds eight-hour rehearsals on Tuesdays and Thursdays, especially if there are new cast members or understudies.

“I’ll do what it takes to not only maintain the show but to make it better tomorrow,” she says.

Frozen the Musical is at Her Majesty’s Theatre until January 26. frozenthemusical.com.au