The Cold Never Bothered Us Anyway: How Ovation Theatrical Projections Tackled the Icy Challenges of Disney's Frozen

When Ovation Theatrical Projections debuted in the summer of 2024, we aimed to introduce a projection package for a well-known theatrical property. Choosing the right one was obvious. Regional theaters and educational programs globally were staging Frozen Jr. and Frozen KIDS, and there were hints that the full Broadway version of Frozen would be available for licensing after the national tour concluded. So in the midst of a sweltering Texas summer that only Olaf would love, we immersed ourselves in the frosty realm of Arendelle. In this post, we provide a retrospective on the development and creation of our projection packages for Frozen, highlighting the unique challenges we faced and sharing our favorite moments and sequences from the show.

Do You Wanna Build a Snowman?

Like any of our projects, a lot of research and planning occurred before any designs were created. In this pre-production process, we considered the following:

• Audience Expectations: We begin by asking ourselves: If we were in the audience for this show, what would we anticipate seeing, and why? How would we envision this world? Should our designs align with those expectations or challenge them? For Frozen, we understood that audiences would anticipate a visual style similar to the Disney animated film and the successful Broadway production. While some projects provide an opportunity to challenge or defy audience expectations, we determined that this was not one of those cases. Like many Disney shows, Frozen serves as the theatrical equivalent of comfort food. At times, it's best to deliver exactly what the audience expects, which in this instance meant creating a colorful, delightful world reminiscent of a Disney animated film.

• Prior Productions: While we strongly oppose anyone in our industry replicating another's design work (design plagiarism is a legitimate issue, and it's indefensible), it would be unwise not to examine the design work of others. Doing so can offer inspiration and valuable insights into what is effective and what is not for the material. We reviewed still images and watched video clips of the Broadway production (scenic design by Christopher Oram, video design by Finn Ross). We were also fortunate to see the U.S. National Tour of Frozen twice when it came to Austin, TX, allowing us to experience the remarkable work of Oram and Ross firsthand. However, our most significant resource was videos of Frozen - Live at the Hyperion (scenic design by Robert Brill, video design by Aaron Rhyne), a condensed version presented at Disney's California Adventure theme park. This version featured a 2,200 square foot LED wall at the back of the stage, along with downstage curtains serving as additional projection surfaces. With its use of projections, Frozen - Live at the Hyperion effectively delivered a dynamic, engaging retelling of the movie with only a few practical, physical set pieces. This demonstrated to us that well-conceived and well-executed video design would enable our customers to simplify their physical set without compromising the beauty and grandeur of the show's world.

• The Text and Score: We read through the scripts for both Frozen Jr. and Frozen KIDS and listened to the guide vocal tracks for each. During our review of the script and score, we took extensive notes on the required scenic environments, the time of day for each scene, the weather (a crucial aspect for the atmosphere of Frozen), and the transitions between scenes. We even timed the scene change music to determine how much time our video transitions would need to cover. Additionally, we noted each magical moment, especially those involving Elsa and her powers. Unlike most of our projection packages that focus solely on scenic locations and transitions, we realized our packages for Frozen would also need to include snow and ice effects and overlays whenever Elsa used her powers in the text.

• Rules and When to Break Them: By now, we had a general idea of the overall look and feel of the world we wanted to create, but the beautiful thing about Frozen is that includes several moments when the visual rules of the world can be broken. We decided to consciously break the typical look and feel of the show during a few moments, particularly Olaf's number "In Summer" and the glitzy, old-school Broadway ending of the number "Hygge." More on those moments later...

• Testing and Feedback: Each of our projection packages undergoes a testing phase before being offered for rent, and Frozen Jr. and Frozen KIDS were no different. Our Frozen Jr. package was trialed during a Pilot Production at North Marion High School in Farmington, WV, while Frozen KIDS was tested at the Georgetown Palace Theatre Education Department in Georgetown, TX. The feedback from these early clients played a crucial role in shaping the final product.

Elsa's Big Moment and Our Big Challenge

The biggest challenge in the development of this package happens to also be the biggest moment of the show itself. A year later, "Let It Go" remains the most challenging sequence we've ever designed. It comes with huge expectations. The song is one of the most iconic Disney songs of all time, and the way the sequence is animated is so visually stunning and so connected to Elsa's story arc as we see her build her Disney Princess Fortress of Solitude. It's the moment the audience looks forward to the most in the show, and rightfully so. While we typically design shows in chronological order, "Let It Go" was so intimidating we skipped over it and returned to it once the rest of the show was designed. The four minute sequence took nearly a week to design, but it was well worth it. The entire song is fully animated, with the visual elements slowly building from a barren frozen hilltop to a grand ice palace. We also animated each architectural element of Elsa's palace to be added to the landscape one by one to allow directors and choreographers to play with the idea of Elsa creating her world around her.

The greatest challenge in developing this package happens to be the most significant moment of the show itself. A year later, "Let It Go" remains the most demanding sequence we've ever crafted for any show. It carries immense expectations. The song is one of Disney's most iconic, and the animation is visually breathtaking, and the moment is the climax of Elsa's story arch. It's the moment the audience eagerly anticipates, and deservedly so. Although we usually design shows in chronological order, "Let It Go" was so daunting that we skipped it and returned once the rest of the show was complete. The four-minute sequence took nearly a week to design, but it was worth the effort. The entire song is fully animated, with visual elements gradually transforming from a desolate frozen hilltop to a magnificent ice palace. We also animated each architectural element of Elsa's palace (which we affectionally nicknamed "SuperQueen's Fortress of Solitude") to be added to the landscape one by one, allowing directors and choreographers to explore the concept of Elsa creating her world around her, such as freezing the ground beneath her feet, pulling frozen columns out of the ground, or conjuring snowflake chandeliers out of the air.

Our Favorite Moments

While we love our projection packages for Frozen Jr. and Frozen KIDS, there are a few moments and sequences that really make us smile:

• For the First Time In Forever: In the film, Anna is seen rushing through the castle halls, but we've decided to place her in a different setting for exploration. For her solo verses at the beginning of the song, we've situated her in the library. This setting envelops Anna with tales of adventure and wonder that captivate her, yet still restrict her within the castle she longs to escape. There are some entertaining easter eggs in this scene too. Notice the busts atop the bookcases. One depicts Hans Christian Andersen, the author of The Snow Queen, which Frozen is loosely inspired by, and the other is Henrik Ibsen, the most renowned playwright of Norway, the real-life inspiration behind the Kingdom of Arendelle. The library's arches and doorway continue into the second half of the number, as they are also present in the castle's Grand Foyer where Elsa performs her solo and where the number culminates in a full company finale.

The library as seen in "For the First Time in Forever" features unique details, such as the busts of Hans Christian Andersen and Henrik Ibsen on top of the bookcases.

Later in "For the First Time in Forever," the library transforms into the Grand Foyer. The arches and doorways remain while everything around them changes.

• In Summer: "In Summer" is a highly cherished scene in the film, showcasing one of Disney's most charming sidekicks and offering a delightful fantasy sequence that contrasts with the film's usual visual style. To echo this, we crafted a completely animated sequence for "In Summer," featuring a more cartoon-like, two-dimensional design that complements Olaf's character and the playful nature of his song.

• Hygge: During the tour of Frozen, one of the most memorable numbers was "Hygge." This full company showstopper featuring Wandering Oaken and his sauna-loving family is utterly outrageous and extravagant. The brassy conclusion of the song seemed to demand a grand, dazzling Busby Berkeley-style finale, and we felt it gave us permission to do something ridiculous and over the top. In the song's final moments, Wandering Oaken's world fades away, replaced by a massive, shimmering snowflake-adorned arch, reminiscent of the iconic Art Deco fan from the curtain call of A Chorus Line, creating the ideal backdrop for a kicklining ensemble.

Why Choose Video Projections for Your Production of Frozen Jr. or Frozen KIDS?

Stage projections offer a unique blend of artistry and technology that can elevate any theatrical production. Here are some reasons why investing in our projections is a smart choice:

• Visual Impact: Projections create dynamic backgrounds that change seamlessly with the story, enhancing the mood and setting without the need for bulky set pieces.

• Cost-Effective: Compared to building elaborate physical sets, projections are often more affordable and reusable for multiple shows.

• Customization: We can tailor projections to fit your stage size, lighting conditions, and specific scenes, ensuring a perfect fit for your production.

• Ease of Use: Our projections also come with a detailed cue sheet, making it extremely easy to understand how and when each video file should be used. We can also pre-program your entire show in QLab for an added fee.

• Customer Support: We offer excellent customer service, including setup guidance and troubleshooting, making the process stress-free.

  
  

How to Maximize the Impact of Our Projection Packages

To get the most out of your projections, consider these practical tips:

1. Coordinate with Lighting

   Projections work best when integrated with lighting design. Be careful to position your stage lights and projector in a way to lessen light-bleed on your projection surface. Ambient light can make projections wash out, but careful and intentional focusing of your lighting can lessen this issue.

   
   

2. Choose a High-Quality Projector

   Find the highest resolution and highest lumen projector that works within your budget. The higher the lumens, the brighter the projection. This will also help combat that pesky wash-out issue that can happen due to your stage lights.

   
   

3. Test in Advance

   Run technical rehearsals to adjust projector placement, focus, and brightness.

   
   

What About the Full Broadway Version of Frozen?

Ovation Theatrical Projections intends to create a package for the full-length version of Frozen soon. We can't wait to share the third and final package for Frozen with you soon!