Stage Review - Frozen (Kitsap Forest Theater)

Stage Review - Frozen
Presented By: Kitsap Forest Theater - Bremerton, WA
Show Run: May 24 - June 14, 2026
Date Reviewed: Sunday, May 24, 2026 (Opening)
Run Time: 2 Hours, 30 Minutes (including a 15-minute intermission)
Reviewed by: Greg Heilman

It’s that time of year again. With Spring comes many things, unpredictable weather, folks storming out of their homes to combat the past few months of gloominess, and the opening of Kitsap Forest Theater’s new season. This season, the company is opening with a familiar musical, Disney’s Frozen and with it a fairly ambitious staging of the popular story. This production, which runs through June 14, brings the beloved animated story into the woods with a production that embraces both the spectacle audiences expect and the emotional intimacy that makes the story resonate across generations. Directed by Craig Schieber, this staging wisely understands that while Frozen is filled with visual magic and recognizable songs, its real strength lies in the relationship between two sisters navigating fear, grief, isolation, and love. The natural backdrop of Kitsap Forest Theater allows the fairy tale qualities of the material to come to life while still bringing performances that feel genuine in their emotion, creating a family-friendly experience that works equally well for children discovering the story for the first time and adults already familiar with the journey of Anna and Elsa.

Originally released by Disney as an animated film in 2013, Frozen quickly became a cultural phenomenon, fueled by Kristen Anderson-Lopez and Robert Lopez’s now iconic score and the film’s blend of fantasy adventure and emotional storytelling. The property made its transition to Broadway in 2018, expanding both the story and the music for the stage, adding new songs and deepening the emotional journeys of several characters, particularly Elsa. At its core, Frozen follows two royal sisters in the kingdom of Arendelle whose bond is fractured after Elsa’s magical powers accidentally place Anna in danger as a child. Years later, after Elsa’s powers are revealed publicly during her coronation, she retreats into isolation, unintentionally plunging the kingdom into eternal winter. Anna then sets out on a journey to find her sister and repair the relationship between them, joined along the way by Kristoff, Sven, and Olaf, all while the story explores themes of fear, identity, sacrifice, and unconditional love.

Before even getting into the performances themselves, there are a few things audience members should know when planning a trip to Kitsap Forest Theater. Children under six are admitted free of charge, making this an especially accessible outing for families, but because the venue operates with open seating, arriving early is strongly recommended, particularly given the lengthy walk from the parking area down to the theater itself. Once seated, audience members should also expect things to feel a bit compressed at times, especially with larger family groups trying to maximize available space in the seating area. It is one of those environments where a little awareness and courtesy go a long way. A simple “excuse me” or “thank you” can make the afternoon significantly more enjoyable for everyone sharing the space, where elbow room should be at a premium throughout the run.

The production gets off to a strong start immediately with Mayla Elmore and Harper Rogers as Young Anna and Young Elsa, and in many ways this serves as the first example of Craig Schieber’s superb casting throughout. These roles can sometimes feel like throwaway parts in other presentations of Frozen, where audiences could be expected to forgive weaker performances because of the youth and inexperience of the actors involved, but there is none of that here. Mayla and Harper establish the sibling chemistry immediately, bringing a playful energy and strong vocal performances to the opening moments of the show. Both young performers display confidence well beyond their years, and their ability to balance the joy of childhood with the seriousness of the events that begin to unfold gives the opening sequences real emotional weight. Their work provides an important foundation for everything that follows, and both singers handle the music extremely well.

Of all of the productions I’ve seen at Kitsap Forest Theater, Frozen may very well be the most ambitious from a creative standpoint. Yes, the space itself is naturally limited in both size and breadth, but Craig uses that space exceptionally well, and the scenic design, from Jim Johnson and George Pledger, embraces flexibility in ways that allow the production to move rapidly between locations without losing momentum. Combined with strong prop work, particularly in the way set pieces are utilized to simulate motion and movement, the transitions become part of the storytelling itself rather than simply functional necessities. Amy Fancher’s costumes here are magnificent, honestly some of the best work I’ve seen not just from this theatre organization, but from any non-professional production. From the earthy aesthetic of the Hidden Folk to the Scandinavian influences woven throughout the ensemble pieces and the instantly recognizable gowns worn by Anna and Elsa, the costume work is layered, visually striking, and impressively functional considering the amount of movement required throughout the show. The puppetry work for Sven (Danette Lam) and Olaf (Annett Mateo, puppetlandia.com) adds another layer of complexity to both the choreography and staging, and both characters are integrated smoothly into the production.

Sound and music are generally very strong as well, with the live orchestra providing excellent accompaniment for the vocalists throughout the performance. There are still a few of the signature microphone hiccups that seem to accompany productions in this venue, though none rise to the level of distracting from the performances themselves. The only noticeable impact comes during a handful of ensemble harmonies where portions of the cast are amplified while others are not, creating some occasional imbalance. Still, taken as a whole, this is an extraordinarily ambitious production from a technical and creative perspective, and the fact that the end result works this well is a significant achievement for everyone involved.

The show is in exceptionally strong hands under the guidance of Ila Sarah Dreessen as Vocal Music Director. From the principal performers to the ensemble work, the vocal quality across the board is excellent, with strong harmonies, clean balance, and confident performances throughout. The ensemble numbers especially benefit from Ila’s work, creating a fullness of sound that consistently elevates the larger musical moments. The orchestra, under the direction of Mark Press, performs solidly as well, providing strong accompaniment without overpowering the vocalists, while Guy Caridi’s choreography fills the outdoor playing space nicely without ever overwhelming it.

One of the true coups of this production is bringing Ila Sarah Dreessen and Marin Alexis together as Elsa and Anna. In many ways this serves as a reunion of sorts following their work together in Port Gamble Theatre’s Cinderella several years ago, and it is wonderful to see these two talented performers sharing the stage again as sisters. Their chemistry is immediately apparent. Marin captures Anna’s sincerity, naïveté, and youthful exuberance wonderfully, while Ila brings Elsa’s maturity, caution, and seriousness to bear in a way that feels entirely natural. Their interactions genuinely feel sisterly, reflecting the comfort and familiarity the pair clearly have working together. Of course, audiences will recognize the familiar musical moments, from the pair’s excellent work in “For the First Time in Forever” to Marin and David Ward’s charming “Love Is an Open Door,” while Ila’s performance of “Let It Go” is exactly what audiences hope for, not merely imitating the well-known version from the film, but making the song distinctly her own. But where this cast truly shines is in the newer material written specifically for the stage adaptation. Ila is absolutely stellar in “Monster,” vocally hitting every literal and figurative note while presenting an Elsa filled equally with fear and self-assuredness. It is a powerful number, and Ila delivers it beautifully. “Dangerous to Dream” is another standout, as is “What Do You Know About Love” between Marin’s Anna and Jared White’s Kristoff, with Jared also bringing a wonderfully entertaining reindeer voice to Kristoff’s conversations with Sven. Still, the emotional high point musically may very well be “I Can’t Lose You,” where Marin and Ila are at their absolute best. Their harmonies are unmistakable, and it is within this song that the emotional conflict between the sisters truly comes to a head. It is outstanding work from both performers. This is a pair that is well worth the price of admission on their own, and any time there is a chance to see either of them perform individually, much less together, it shouldn’t be passed up.

The supporting performances around them are equally strong. Rachael Scott and Sam Elmore bring warmth and emotional grounding to Queen Iduna and King Agnarr, helping establish the family dynamic that drives the emotional stakes of the story from the outset. David Ward’s Hans is charming and charismatic early on, exactly what the role requires to make the character’s later turn effective, while Jared White’s Kristoff provides both humor and sincerity throughout the journey alongside Anna. A. J. Dreessen makes the most of every moment as Oaken, generating some of the evening’s biggest laughs, and Katie Dreessen’s Olaf is wonderfully handled, balancing comedy with genuine sweetness rather than allowing the character to become overly cartoonish. Across the board, Craig’s casting proves remarkably strong, with each performer feeling well matched to both the tone of the production and the specific demands of their role.

Other highlights among the newer songs include A. J. Dreessen’s wonderfully entertaining performance in “Hygge” and David Ward’s excellent “Hans of the Southern Isles,” both performers bringing tremendous character and vocal personality to their numbers. Top to bottom, this cast performs the score with a consistently high level of vocal excellence. Katie Dreessen also deserves recognition for managing “In Summer” wonderfully, bringing Olaf’s humor and warmth to life in a way that keeps the audience fully engaged.

Kitsap Forest Theater’s Frozen brings a wonderful balance between spectacle and sincerity. Yes, the familiar songs, choreography, costumes, and visual flourishes are all here, but what ultimately makes this production work is the emotional honesty at its center. Through strong performances from its leads, energetic ensemble work, impressive visual design, and the unique atmosphere of the forest setting itself, this production delivers a version of Frozen that feels heartfelt rather than manufactured. For families, Disney fans, or anyone simply looking for an enjoyable afternoon of live theatre in one of the region’s most unique venues, this production is well worth the trip into the woods.

The Kitsap Forest Theater production of Disney’s Frozen runs through June 14 in Bremerton. For more information, including ticket availability and sales, visit https://www.foresttheater.com/.

Photo credit: Dave Layton / Alfonso Barrera