Many of us can point to a single, magical moment that made us fall in love with theater for life. Maybe it was watching animals parade down the aisles in The Lion King or seeing kids like us onstage in Annie. If you want to witness dozens of children experiencing that moment at once, go see City of Fairfax Theatre Company’s production of Disney’s Frozen. When Queen Elsa’s dress transforms into a glittering ballgown in the blink of an eye, it’s theater magic in its purest form. Even if your tastes run more toward Sondheim or Shakespeare than singing snowmen, this production may just awaken your inner child. Nearly one hundred people came together on and offstage to mount this huge production, which presents technical and artistic challenges rarely seen on community theater stages. Almost 50 of them are cast members, filling the stage (and sometimes the aisles) of the Katherine Johnson Middle School auditorium. The highly versatile and cohesive ensemble includes many child performers as well as some of the most seasoned community performers in the DMV. In case you’ve been living under a rock, or perhaps in an isolated ice castle far from civilization, Frozen is a massively popular animated Disney movie turned media franchise turned Broadway musical. With infectiously catchy music by Kristen Anderson-Lopez and Robert Lopez and lovable and highly merchandisable characters, it’s a favorite of children around the world. It follows the sweet but socially awkward Princess Anna, orphaned at a young age and ignored by her reclusive big sister, Queen Elsa — because, as it turns out, Elsa was born with uncontrollable ice powers. When Elsa accidentally sets off an enchanted snowstorm, it’s up to Anna to figure out how to stop it and save the kingdom of Arendelle. Penelope Porter (Young Anna) and Riglee Bryson (Young Elsa) in ‘Frozen.’ Photo by Heather Regan Photography. As Anna and Elsa, Amelia Jacquat and Draconia Craig fit their roles like, well, a pair of Elsa’s gloves. Jacquat’s Anna is bursting with energy and earnest enthusiasm, perpetually in motion. Her intensely expressive face and bright voice are perfectly suited for Anna, like an animation come to life. Craig’s voice is as cool and shimmering as a snowflake, with a particularly sumptuous lower register and powerful belt. Elsa is practically every young girl’s superhero, but Craig brings a full range of human vulnerability and inner conflict to this larger-than-life character. But it’s not Jacquat and Craig who kick off the show, but Young Anna and Elsa, played by a pitch-perfect pair of child performers. At the opening night performance, Meena Claytor-Howard played Young Anna and Allison Ceballos played Young Elsa. (At other performances, the roles will be filled by Riglee Bryson and Penelope Porter.) Claytor-Howard quickly wins over audiences with her high-energy, clear-voiced performance, while Ceballos nails Elsa’s elegant but self-conscious bearing. In a small but memorable role as their mother, Queen Iduna, Stacey Yvonne Claytor (also the show’s choreographer) shows off an impressive contralto voice. From this poignant opening to a triumphant finale, the show flows seamlessly from scene to scene, cast members pushing in set pieces on casters to create castle gates, bedroom doors, even snow-capped mountains. These sets are the brainchild of technical director and set designer Peter Marsh, supported by Andy Shaw. Some particularly beautiful set pieces include a colorful maypole for the opening number and Elsa’s ice castle, made up of staircases decked in sparkling icicles and twinkling lights. While Frozen may be a touch long for the youngest audience members, this production moves along swiftly under the direction of Amanda Herman Snellings. The entire cast moves with purpose and confidence, giving the whole production impressive polish for such a large ensemble. When the gates of Arendelle fling open and the full ensemble spills in to swelling music, it’s genuinely thrilling. TOP: Andy Shaw (Sven) and Willian Choi (Kristoff); ABOVE: Draconia Craig as Elsa, in ‘Frozen.’ Photos by Heather Regan Photography. This moment is also our first introduction to several of the major supporting players, including the baddies. Prince Hans (Christian Rodgers) owns the stage with a smooth, crisp physicality and voice to match, while Josh Shull’s cowardly Duke of Weselton fittingly struts about like a chicken. William Choi captures both Kristoff’s crusty demeanor and the princely heart (and singing voice) behind it. He even plays his own ukulele while singing to his trusty reindeer pal Sven, here memorably puppeteered by Andy Shaw. Sven isn’t even the most elaborate puppet character in this piece. That would be Olaf the happy-go-lucky snowman, brought to life in a jovial performance by Brandon Schenk. The Olaf puppet is absolutely adorable and Schenk disappears into the character. The puppets, designed by Benjamin Cudmore and constructed by Rebecca Kalart, bring a sense of childlike whimsy to the stage. One more player who deserves a special mention is Chris Dockins as irrepressibly cheery shopkeeper Oaken, who introduces us to the concept of hygge. What’s hygge? Don’t worry, he has a seven-minute production number to explain it, accompanied by his extended family bursting out of the sauna to dance about in bathrobes and execute synchronized moves with mugs of hot gløgg. Does it advance the story at all? No, but it’s an utter delight. In fact, all of the big group numbers, imaginatively choreographed by Stacey Yvonne Claytor, are showstoppers. “In Summer” transforms from Olaf’s solo number to a goofy fantasy sequence, the cast decked in beachy attire, tossing around a giant beach ball, and even tap-dancing. The energetic “Fixer-Upper,” led by the Hidden Folk who raised Kristoff, polishes a less-memorable song from the movie into a gem. (Speaking of gems, the Hidden Folk wear glowing green amulets that make their entrance through the aisles especially exciting.) Choreography is also used to depict a fatal shipwreck and a mounting storm, both to moving effect. The staging and choreography also help develop relationships. While “Love Is an Open Door” is a fun uptempo number, in a bit of clever foreshadowing, Hans carelessly hurts Anna a few times throughout, bumping into her or high-fiving her too hard. By contrast, during “What Do You Know About Love,” Anna and Kristoff keep helping each other climb a mountain safely even while they argue. Kristoff may seem less gallant than Hans, but we can already see that he’s far more thoughtful. Music director Rachel Bradley masterfully leads the lush 16-piece orchestra. The soundscape of this production is dazzling.  So, too, are the costumes — colorful, cohesive, and more polished than those in many professional productions of Frozen. Costume designers Gabrielle Marchetti and Laura White pull off the enormous responsibility of creating multiple different costumes for almost every member of the 40-plus-person cast. You might find yourself wondering if the costume closet is an airplane hangar. The costume construction crew is extensive, too — of special note, “Anna” and “Elsa” themselves even helped construct their own costumes.  Hair and makeup by Ryan Kincaide captures these characters we know and love and also includes some clever quick changes. (This is much easier to pull off in animation than onstage, and Kincaide knocks it out of the park.) Props and set dressing by Michelle Brooks are the fabulous icing on the cake of this production, with an emphasis on the “ice.” Speaking of which, well-crafted sound design by William Taft includes some satisfyingly crunchy ice noises. Frozen is all about “true love,” including in forms we may not expect, and this production feels like a true labor of love. The amount of care and effort in every element is genuinely touching and almost unbelievable from an all-volunteer cast and crew. The bevy of tiny Elsas in the audience would have one of the best days of their young lives at this show regardless of the production value or talent on display, but City of Fairfax Theatre Company has pulled out all of the stops for a production guaranteed to melt even the hardest of hearts. Running time: Approximately two hours and 25 minutes, including a 15-minute intermission. Disney’s Frozen plays through August 1, 2026 (Thursday and Friday at 7 PM; and Saturday at 2 PM and 7 PM), presented by City of Fairfax Theatre Company performing at Katherine Johnson Middle School, 3801 Jermantown Rd., Fairfax, VA. (There is also a special sensory-friendly performance on July 29 at 7 PM.) Purchase tickets online ($30 for adults, $15 for kids) online or at the door.(Performances are selling quickly.) Disney’s FrozenMusic and lyrics by Kristen Anderson-Lopez and Robert LopeBook by Jennifer LeeOriginally directed on Broadway by Michael GrandageBased on the Disney film written by Jennifer Lee and directed by Chris Buck and Jennifer LeeOriginally produced on Broadway by Disney Theatrical Group CASTThe full cast list is available on the CFTC website. CREATIVE TEAMDirected by Amanda Herman SnellingsMusic Directed by Rachel BradleyChoreography by Stacey Yvonne ClaytorProduced by Becky Gould-Levine Rebecca Kalant Props Design by Michelle BrooksHair and Makeup Design by Ryan KincaideSound Design by William TaftLighting Design by Katie BrusseauCostume Design by Gabriella Marchetti and Laura WhiteScenic Design by Peter Marsh and Andy ShawStage Managed by Misty GottliebAssistant Stage Manager Natalie NardoneCombat Choreographer and Fight Captain: Andy ShawDance Captain: Jessi ShullTechnical Director: Peter MarshSet Construction Crew: Doug Morford, Andy Goldman, Michelle BrooksCostume Construction Crew: Draconia Craig, Amelia Jacquat, Riley Leonhardt, Brandon Schenk, Maura Lacy, Anna Marquardt, Joan Lawrence, Donna Sisson, Emily RuschAssistant Lighting Design: Nikolai Crowl, Logan TranLighting Board Operator: Luke FrogaleSpotlight Operators: Evan Aurelia, Scott RodgersonSound Assistant: Brandon Foster, Emma CorimskiProps Set Dressing Design: Michelle BrooksSet Painting Lead: Diedre Nicholson-LambSpecial Effects: Michelle Brooks (Practicals, Costumes), Katie Brusseau (Projections), Nikolai Crowl (Practicals), Benjamin Cudmore (Puppet Design), Rebecca Kalant (Projections, Puppet Construction, Practicals), Riley Leonhardt (Costumes), Peter Marsh (Practicals), Laura White (Costumes).Puppet Coach: Rebecca KalantIntimacy Coach: Olivia HinebaughRun Crew: Susan Baez, Evelyn Foster, Julia ReckoVolunteer Coordinator: Natalie ThibodeauSet Painters: Kathy Murphy, Nikolai Crown, Brandon Schenk, Anthony Galace, Becky Gould-Levine, Draconia Craig, Julia Recko, Chris Dockins, Emme Porter, JoAnne Wagner, Jane LeeProps and Set Dressing Construction: Michelle Brooks, Peter Marsh, Andy Shaw, William Choi, Natalie Thibodeau, Kat Michalak, Crystal Downs, Tristan Lee, Beth Plunkett, Jim Eckloff, Maura Lacy, Rebecca Kalant, Becky Gould-Levine, Misty Gottlieb, Amanda Herman Snellings, Brianna Lau, Doug Morford, Emily Morford, Jane Lee, Katja Illincic, Michael Snellings, Ricardo Ceballos.Playbill: Caden PengGraphic Design: Rebecca Kalant, Subplot Studios ORCHESTRARachel Bradley (Conductor), Randy Dahlberg (Bass), Robin Holle (Cello), Jake Gunter (Drums), Michael Volaric (Guitar), Chelsey Morgan-Elder (Horn), Joseph Simon (Keys 1), Jon Neuhoff (Keys 2), Emilie Taylor (Percussion), Hailey Nowacek (Reed 1), Joshua Saville (Reed 2), Scott Fridy (Trombone), Bill Wright (Trombone), Joe Krasinskas (Trumpet), Ike Sae-Tang (Viola), Andrew Nixon (Viola), Cindy Zhang (Violin). ...read more read less