The Sami-inspired mountain outfit worn by Kristoff (Jelani Alladin), created by Jennifer Love, is brighter than it is in the film. But the truth is you look at an individual actor and work out how they’re best going to be visible in the show. And we’ve done a bit of that in a nod to the original designs. “In the movie, each of the characters has a reliable color palette that’s associated with them, with a flash of maroon accent somewhere that links them together thematically. The costume for Hans (John Riddle) is a regal take on bunad, a classic princely look, with tailoring by Arel Studio. He arrives as the tall and handsome prince you’re supposed to be rooting for it turns out he isn’t all he seems, but one wanted to make sure that he looked as classically perfect as possible.” We were able to research it thoroughly through books and by visiting Norway it’s still how they dress on festivals and occasions, and there are shops that sell contemporary versions of it and museums that have collections of antique versions of it, so you can see how it’s developed and changed. “Bunad is the traditional Norwegian dress, and it’s the recurring theme of all the garments in the show. Later on, Elsa transforms into a much lighter and more alluring dress this one is in deliberate contrast to the extravagant crystalline couture to come.” The colors are the household colors of Arendelle-blues and greens and golds-but they’re muted and somber. It’s a dress that represents the burden of being the queen, of being in charge it’s earthbound and heavy but still beautiful and elegant. “This is what Elsa (Caissie Levy) wears in the coronation scene, and it was also made by Eric Winterling. Delving deeper in to those kinds of details has been part of the joy of it.”
But you can also put a kind of detail into them that isn’t so easy to achieve on an animated garment we’ve been able to get much more specific with the embroidery, because we don’t then have to redraw it in every single frame. Real garments have to accommodate actual humans. The film had a costume designer to create the looks, but animated garments behave without the effects of physics and gravity, and they have to be simplified their shapes are slightly reduced on the physical bodies that people have in animated features, which are slimmer and more delicate-without hips, generally.
#SNOW QUEEN SCENE MAKER ELSA LET IT GO MOVIE#
“The dress that Anna (Patti Murin) wears at the coronation, made by Eric Winterling, is a silk taffeta take on its movie counterpart, with enhanced dimensional embroidery in satin and organza. “The costumes from the film are iconic, and so I approached the reimagining of them with trepidation and respect. I was also very aware that this would likely be the first time that a generation of young fans of the film would set foot in a theater, so it was important to me that they had an experience that was both familiar and at the same time new and exciting. Certain looks translated very easily into real fabric and onto real bodies others took more revision before they found their balance.” We spoke with him recently about the ideas undergirding his Norwegian-style costumes for the show, with ten photographs to help illustrate what he’s talking about-including four character portraits that have not previously been released.
(It starts previews on February 22 you can buy tickets here.)Ī key figure in bringing the show’s Nordic world to life on stage is British designer Christopher Oram, the two-time Tony Award winner who is creating Frozen’s sets and costumes. Adapted from the 2013 Disney film-the highest-grossing animated film of all time, and the source of the inescapable song “Let It Go”-this family-friendly musical traces the epic adventures of two royal sisters, Anna and Elsa, in the fictional kingdom of Arendelle. The next few months on Broadway will be loaded with new shows, but few are arriving with as much heat as Frozen.
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