FROZEN
- Tracy Payne
- Mar 1
- 4 min read
PACA Productions
The whole evening at The Concourse had that lovely buzz you only get when a show genuinely means something to the people who’ve come to see it. Before the lights even dimmed, the foyer was awash with tiny Elsas—sparkling capes, careful plaits, and the kind of wide‑eyed anticipation that makes you remember the joy and magic of theatre. PACA’s Australian amateur premiere of Frozen leans into that atmosphere beautifully.
Once the show began, it was clear how much thought had gone into shaping Arendelle for this stage. As always, PACA embraces all the tech of 21st century theatre to build this world - lighting, projections, haze and special effects - but these are engaged with intention, supporting the narrative and never overwhelming the performers. The physical set shifts are minimal, with the lighting design doing a lot of the emotional heavy lifting. Credit to William Pulley (Production Design), Nick Capetta & Emilio Mancia (Technical Managers). You can also feel Stage Managers Emillio Mancia & Melissa Lennox’s steady hands in the way everything runs: the transitions are smooth, the cues land cleanly, and the cast moves through the space with confidence.
At the centre of it all, though, is Cassidy Lobb’s Elsa, who brings a quiet, contained strength to the role. Her vocals are controlled and expressive, and she handles the iconic material with a calm assurance that suits the character. And, yes, Let it Go and “the” moment are everything you want it to be.
Jessica Gowing’s Anna, stepping in as a last‑minute understudy, is a burst of warmth and energy. She has that open‑hearted quality that makes Anna so endearing, and she balances humour with sincerity in a way that feels effortless. Her scenes with Blake Lovely’s Kristoff are marked with sincerity and honest connection.
Speaking of Kristoff, this absolutely adorable character was somehow even more engaging in the hands of Lovely. A strong vocalist and performer, he crafted a tangible chemistry with each scene partner, grounding the narrative and guiding the audience through the narrative with as much care and charm as he leads Anna through her icy journey.
Jordan Berry, also stepping in unexpectedly as Queen Iduna, brings a lovely steadiness to the early scenes. Her presence is warm and reassuring, and she sets up the family dynamic with a clarity that resonates later in the story. She partners well with Simon Buchner which is no mean feat considering Buchner’s commanding presence as King Agnar.
The younger performers Eliana Foote as Young Elsa and Zoe Loesch as Young Anna deserve special mention for opening the show with such confidence and emotional honesty. They establish the sisters’ bond with a natural ease that carries through the entire production. It should be noted that these roles are double cast and on alternate shows the roles are played by Penelope Mortimer and Maya Tobin.
The entire cast is strong, with the show’s comic and mystical elements resting in very safe hands. Lachlan Ceravolo’s Olaf is delightful and funny without ever tipping into caricature. His comic timing is sharp and his rapport with the audience genuine. Jack Fahd’s Sven is wonderfully expressive, impressively using physicality to craft an endearing character even without scripted lines. Luke Arthur maximises the humour in the role of Oaken; the script offers him golden moments to work with and he delivers them beautifully, all while showing some seriously impressive vocal skills. Some of the best comic moments of Act 1, though, come through the character of Weselton. Jeremy Barons offers the perfect balance of villainy and comic energy each time he takes the stage, and his featured dance moment was an unexpected highlight.
Alexander Billett offers an impressive portrayal of Hans. Billett’s vocals are flawless and he handles the character’s shift from charm to duplicity with engagingly believable clarity.
The wisdom of the Hidden Folk is offered through the sincere and energetic portrayals of Pabbie and Bulda by Daniel Lavercombe and Marika Zorlu. Lavercombe, in particular, captured the strength and mysticism of the role. In his moments with the ailing Anna, I honestly believed he would cure her!
The ensemble brings a real surge of energy to the production, the kind that lifts every scene. Vocals are impressively strong giving the big choral moments a richness that fills the theatre. The choreography, too, is delivered with a crispness that’s genuinely satisfying to watch. Whether shaping the bustle of Arendelle, conjuring the mystery of the Hidden Folk, or supporting the principals in the larger musical numbers, they work as a cohesive unit adding depth to the world of the story.
The talent of the cast is undeniable but it is the role of the creative team to tie everything together. Director Kaitlin Hillier has shaped a production that understands the emotional heart of Frozen and she gives those moments space to land. She also knows when to lean into the spectacle, and the balance she strikes keeps the show engaging for both children and adults. Musical Director David Catterall draws strong ensemble vocals and supports the principal cast with sensitivity, while Layla Bonny Owen’s choreography brings both energy and emotion to each scene. The costumes, designed by Erica Williams and William Pulley reflect the expected images from the film without direct replication; they delighted the many young Elsas in the audience and helped define character relationships with clarity and flair.
This much loved story is brought to life in a delightful way by PACA Productions and what stays with you afterward is the sense of shared delight. Children were utterly captivated and the adults around them were just as charmed, I’m sure you will be too.
Frozen runs until 15 March at The Concourse Theatre Chatswood
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