Writer: Hans Christian Anderson
Adaptation: Morna Young
Director: Cora Bissett
As the cold winds blow and chill to the bone, Edinburgh envelopes itself in a glittering robe of festive cheer once more as the Royal Lyceum revives its intended 2020 production from the frost-bitten earth for one stellar outing of Morna Young’s adaptation ofThe Snow Queen, directed by Cora Bissett.
The story beats have the familiarity expected by audiences who enjoy the Hans Christian Anderson classic, and even a few reflective shimmers of more contemporary storytelling elements (Disney’sFrozenstill has a vice-grip on younger audiences today). Young cleverly inserts a touching and well-weaved shift into a more environmental dynamic, gorgeously tied into a mythos. The initially subtle movement-orientated and rhythmic opening offers a spot of redemption for the Snow Queen, once called Beira, without stripping her role of agency, as the Queen of Winter is corrupted into the villain we see now, infecting and capturing humans who possess a ‘Seed of Spring’, thus ensuring her eternal reign.
One seed, however, seems to be within a young human from Edinburgh, their talents with a blossoming rose in the depths of winter a sign of their talents. Looking after this private and intimately shared garden, Gerda and Kei are no different than the other kids of Edinburgh, playful, imaginative, and brimming with the sparks of creativity and curiosity.
Featuring imaginative, if often revised and occasionally repetitive, original lyrics and composition from Finn Anderson and Young,The Snow Queenwears its heart on its sleeve, with plenty of delights and comedic elements to entertain and enthral families during this festive period. It captures plenty of spirited merriment with some cracking ensemble numbers which benefit from Yana Harris, Wendy Seager and the always wonderfully spirited Anthony Strachan as residents of the Auld Toun or the various outlandish creatures we encounter along the way.
A reflection of the theatre space itself, Emily James’ striking mirrored auditorium extends the reflective motif of the narrative as the gilded boxes and dress circle of the Lyceum extend onto the stage, creating a two-tiered dimension for the cast to manipulate and hide within. They additionally serve as effective set-dressings to enhance, but not distract from strong scenes with Naomi Stirrat’s sword-wielding Senga, or Richard Conlon’s Hamish the unicorn – a role which one can suspect Conlon has been honing for the show’s three-year hibernation.
Runs until 31 December 2023 | Image: Jessica Shurte
The Reviews Hub Score
Fantastical joy
