BACKSTAGE PASS
What does it take to bring the glorious sparkle of Elsa, Anna and Olaf to life? We go behind the curtain of this spectacular live show – which begins in Brisbane on Thursday – to meet the team delivering amazing sets, costumes and special effects, and the Gold Coast woman in a leading role
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, the massive show Frozen began as soon as Disney theatrical producer Tom Schumacher saw a screening of the film in 2013.
He immediately understood how it could adapt to the stage. It opened on Broadway in 2018, played in Sydney and Melbourne last year and will open at QPAC’s Lyric Theatre on Thursday, February 10.
Production stage manager Matthew Henderson started working on the production 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.”
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.
“It may be a long-running show but it’s never the same because it’s live every time.”
THIS IS AN ART FORM AND EVERYONE LOVES WHAT THEY DO
THE LEADING LADIES
For Queensland’s Courtney Monsma, who plays Anna, the audition process started as soon as the season was announced
“I was so excited and I knew straight away that I wanted the role,” she said.
Monsma had watched her older sister perform in a local production on the Gold Coast when she was eight and fell in love with the idea – beginning her career in community theatre before studying in Brisbane at the Queensland Conservatorium.
So the idea of playing one of theatre’s most beloved little sisters was a dream for Monsma, as was performing alongside Jemma Rix who plays her sister Elsa.
“I worked super hard, and when I found out I got the role it was very surreal,’’ she said. “I think working alongside Jemma just adds that element because I’ve idolised her for so long.”
The performers quickly realised the arduous audition process was simply a teaser to the demanding rehearsal and performance schedule, with up to eight shows per week during the season. The production is meticulously planned down to the team of dressers backstage who quickly change the performers into a new outfit within seconds, making it appear like magic to the audience.
“Like anything it’s just time management,” Monsma says. “Making sure I get enough sleep, drinking enough water at the right time, I have stashes of chocolate backstage I have all the time, genuinely.”
Rix barely raises her voice above a whisper when she’s not performing, in order to keep her vocal health in shape.
“You have to not go to loud venues and, I know it sounds silly, but you can’t really laugh too loud because that really does fatigue you,’’ she says. “How I look at it is these roles don’t come every day and so every audience deserves the best that you can give, so those sacrifices to me are always worth it.”
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 Melbourne to Brisbane last week, it took 22 semi-trailers to haul the massive sets and rigging up the east coast. Henstridge, who has worked with Disney for 15 years, had to co-ordinate at least 100 people to make the transition run smoothly.
LED projections turn the entire set into an ice world. The 30 tech and backstage crew arrives at work two hours before the curtain goes up 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.” Much of his time is spent rehearsing understudies and swings to ensure they’re ready to perform at a moment’s notice.
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’s about detail, care and fine tuning.”
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.
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.”
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, and dancing, and a company physiotherapist is on hand to treat any injuries. There’s also resident choreographer Emma Delmenico-Smith to smooth out any movement or emotional issues.
“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.”
Frozen the Musical is at the Lyric Theatre, QPAC, until April 24. frozenthemusical.com.au