Love is an open door! Love is putting someone else’s needs before yours. Disney’s Frozen was a game-changer in redefining what an act of true love really could be; so many Disney fairytale animated features (and subsequent Broadway musicals) depended on the princess finding her prince and true love’s first kiss. And while there’s a total side-plot component in Frozen, this wintery-wonderland-fairytale musical is all about the love of family. And that’s what makes it a perfect fit for Glyndon Area Players and their 29th summer show here in 2026! Directed by Homero Bayarena with Musical Direction by Bo Weaver (orchestra) & Katie Angerer (vocal) and choreography by Bayarena and Lori Maccia, GAP is bringing an icy blast of fun in the sun to their stage this summer!
A bit like the challenges that face rising Queen Elsa, Glyndon Area Players has found themselves once again in a new locale. But much like Queen Elsa, they’re adapting and fitting all of their creative fabulousness on the vastly cavernous stage in the auditorium of Francis Scott Key High School in Uniontown, MD. There’s even a spacious grotto below the stage for Bo Weaver’s orchestra (Lori Anderson on keys1, Debbie Groth & Stephanie Case on keys2, Andrew Trainer & Nhadia McDaniel on drums, Jamie Brown & Braden Struckhoff on percussion, Brandon Hudson on guitar, Andrew Baker & Bryce McGlaughlin on bass, Debra Zumbrum on violin1, Kate Mankowski & Alex Daudelin on violin2, Ruth Payne on violin3, Rachael Daudelin on viola, Saron Aldouby on cello1, Carrie Price on cello2, Cyndy Wachob & Cindy Suchanek on reed1, Mary Haaser, Stephanie Richmond, & Jamie Kim on reed2, Stephanie Taylor on reed3, Stephen Kaltreider on horn1, Jackson Chung & Jeff Baker on horn2, Schoen Altland on trumpet1, Carissa Hench on trumpet2, Laura Pennings on trombone1, Jeremy Yager & Harry Swartz on trombone2.) And they are the most consistently polished, effervescently fluid sound in the entire production. (There were some opening night jitters in a few of the performers and some technical goblin-gremlins working their way through the mics and the sound-board, all of which will hopefully have been ice-blasted right out of Arendelle by the time the second weekend rolls around!) Weaver conducts a high-caliber orchestra, excelling at those luscious and rich melodies and unique scores that only Disney can compose.
Wearing no fewer than five hats— though ironically enough when he’s in the show he wears no hats at all but we’ll get to the Weasel Town wig momentarily— Homero Bayarena takes on the task of directing, co-choreographing (alongside Lori Maccia), co-costume designing (alongside Elaine Bayarena and Kari O’Donnell), co-set designing (alongside Michael Parks) and of course performing as one of the hilarious cameo characters in the actual show itself! The scenery, which depends heavily on some iconic Disney animations projected onto the back wall/scrim of the stage, is quite striking, with the most impressive piece being the two stationary mountains that flank the front apron of the stage, both left and right. These are highlighted and lit (Lighting Designer Jim Shomo) with frequent moving lights that mimic the aurora borealis and it makes for a breathtaking effect. Oaken’s Sauna and whole trap-shop, as well as the icy bridge are quite noteworthy as well, but the show’s scenic pièce de résistance is the ice-palace stairway. It’s shimmering, glimmering, shiny, icy magical goodness perfectly suited for Elsa’s big solo number.
Rented, fabricated, wholly created, borrowed, creatively sourced— however it is that Bayarena, Bayarena, and O’Donnell came to outfit the cast of nearly 50 performers in their dazzling Disney delights was truly magical. With iconic shows, particularly Disney shows, there is a certain expected aesthetic and GAP and it’s trio of costumers knocks it clean over the Arendelle mountains with what they develop. Everything from Anna’s green celebration dress that she finally gets to wear to her sister’s coronation to the iconic Snow Queen ‘combat’ gear; it’s all there and you recognize each piece with a fond, wintery smile.
Sonically the show had some balance issues on opening night. Microphones were a little glitchy here and there and some of the levels made it difficult, at times, to hear soloists and duets. But learning a new, cavernous space like the stage at Francis Scott Key High School is a challenge that even seasoned sound designer Charles Hirsch had to meet head on; one can only hope and assume that as the rest of the weekend went on and by the time the second weekend rolls around, these issues will be addressed and more likely, resolved.
Choreographers Lori Maccia and Homero Bayarena put up their best dance number in the song “Fixer Upper” which showcases all of the Hidden Folk (Khalil Aleong, Adalynn Bates, Charlotte Coddington, Isaiah Coddington, Victoria Cuellar, Karen Curtis, Jim Dyson, Jay Frisby, Jennifer Hamilton, Molly Kelsh, Kelly Kluka, JP Marcotte, Lia Molony, Charli Morgan, Vanshika Pallerla, Corey Petty, Grace Scarborough, Ryan Schnitzer, James Sheehan, Julianna Shields, Aniyah Stern, Layla Vanadio.) You get some real exciting moves— including a ‘wave’ in that number. There’s also a great deal of dance-prancing during “Hygge” featuring the Bathing Beauties (in their terrycloth fabulous robes and wrap-arounds: Colleen Esposito, Jennifer Hamilton, Lydienne Jackson, Molly Kelsh, Kelly Kluka, Jamie Marszal, Vanshika Pallerla,) and the rest of Oaken’s Family (Tiffany Beam, Charlotte Coddington, Isaiah Coddington, Karen Curtis, Jim Dyson, Jay Frisby, Addy Molony, Azaria Oglesby, Corey Petty, Mauricio Santestevan Vaca, Ryan Schnitzer, James Sheehan, Rebecca Shields, Addi Stashik,)
As the show’s Director, Homero Bayarena does an impressive job of keeping the stage from appearing overcrowded, despite having a rather large ensemble. This is best experienced whenever the townsfolk of Arendelle (Khalil Aleong, Nellie Angerer, Adalynn Bates, Owen Bates, Cadence Beam, Tiffany Beam, Autumn Bell, Brae Blocher, Claire Case, Charlotte Coddington, Isaiah Coddington, Victoria Cuellar, Karen Curtis, Jim Dyson, Charlotte Esposito, Colleen Esposito, Jay Frisby, Jennifer Hamilton, Bryn Hummel, Lydienne Jackson, Molly Kelsh, Kelly Kluka, Lori Maccia, JP Marcotte, Jamie Marszal, Addy Molony, Lia Molony, Charli Morgan, Vanshika Pallerla, Corey Petty, Mauricio Santiestevan Vaca, Grace Scarborough, Alex Schnitzer, Ryan Schnitzer, James Sheehan, Julianna Shields, Rebecca Shields, Addi Stashik, Aniyah Stern, Cadence Vanadio, Layla Vanadio,) appear on stage. Bayarena also uses his seasoned directorial skillset to utilize strong players in all the appropriate places. You’ll see talented ensemble performers pop up as the Queen and King of Arendelle— Colleen Esposito and Ryan Schnitzer, respectively— and those precious, heartfelt interactions in the beginning of the show with Young Anna and Young Elsa (at this performance Bryn Hummel and Brae Blocher) are just pricelessly tender. Both Hummer and Blocher have adorable voices for their features in “A Little Bit of You” and the age-evolving “Do You Want to Build a Snowman?” which also features Teen Anna (at this performance Adalynn Bates) and Teen Elsa (Julianna Shields), who each have lovely voices suited for their respective roles. And this is the part where you can keep an eye out for that Weasel Town— eh-hem, I mean, Weselton fellow, played by Homero Bayarena. He’s got some sass, some sarcasm, a super-scary wig (it’s very reminiscent of frozen Jack Nickleson at the end of The Shining) and an overall caricature flare that is just delightfully hilarious.
If you want to talk shop…or rather show-stealer…look no further than the mountainside shop-keep Oaken (JP Marcotte.) Vibrant, vivacious, larger than life, and chock-o-block with comedic skills, you will absolutely love his hilarious feature role at the top of Act II. Marcotte, who can be found tucked away here and there in other ensemble-blending moments, is the human incarnation of his solo song, “Hygge” which is essentially all things good, great, glorious, bubbly, bouncy, and joyful. It’s a roaring delight. Marcotte is hyper-animated, wholly spirited, and has a robust voice that’s just perfect for this number. And he’s a great mover, particularly when it comes to his kicks! You won’t be able to take your eyes off of him!
Vocally gifted are The Hidden Folk, particularly their leaders Bulda (Azaria Oglesby) and Pabbie (Mauricio Santiestevan Vaca.) You get to hear their strong, fulsome, and melodic voices when they’re first summoned to the palace when Anna and Elsa are in their young-child phases, but they are featured more fully in the second act. “Draw Out the Magic” and “Fixer Upper” are their featured numbers in the second act, and while Vaca’s character is sternly paternal, you get some hilariously over-the-top maternal comedy fro Oglesby’s Bulda when she’s fussing over Kristoff. They both showcase excellent dance moves during “Fixer Upper” as well.
Everyone’s loveable, favorite snowman, Olaf (Olivia Ward) makes an appearance on the scene— of course, how could he not, with it being Frozen and all? Ward has a great knack for creating the character voice and when it comes to singing that sustain, you know the one, where the word aaaaaa-bdomen, gets stretched out and you think it might be a different word? Yes, that one, Ward does a really nice job of keeping her pitch and tonal clarity in that moment. And the tender moment that she shares with Anna late in the second act feels very, very sincere, heartwarming, even.
Our ‘unsung hero’, quite literally as the reindeer don’t sing in this musical, arrives in the form of the full-body suit-puppet of Sven (Josiah Nusbaum.) The puppet itself is absolutely stunning and Nusbaum moves really well inside of it! Makes for a perfect accoutrement to all of Kristoff (Scott Molony)’s misadventures. There’s something really impressive about Scott Molony as he tackles the role of Kristoff with aplomb. You get to see his character arch and the growth he achieves with this fixer-upper-fella. There’s a ripe sarcasm that he launches his character with right from the moment Anna and Hans tumble onto his ice-cart and it’s just a skyrocket of wonderful from there. Molony has a really strong voice that holds tone, pitch, and clarity with ease; this is noted best during “Kristoff Joik” (the call for Hidden Folk) and “Kristoff Lullaby.” And his duet with Anna, “What Do You Know About Love” is really something magical; they match energies, their chemistry feels earned, and he’s ultimately a wonderful fit for the role.
Hans (Kenny Alam) of the Southern Aisles is the epitome of a prince charming, clearly raised to be exactly that. And when he sweeps onto the scene it’s easy to be swept off your feet. Dashing, tall, charming, gorgeous voice, great silly sense of humor, dance moves like there’s no tomorrow, lacquered-on false sincerity. Alam is the epitome of perfection in the role. And when ‘the flip’ hits, you get a chill frostier than any snow-blitz-blast that Elsa could conjure. His meet-cute chemistry with Anna is superb and they have gloriously blended harmonies for “Love is an Open Door”, which is the second-most iconic number in the film and stage musical, hands down. Alam moves with graceful fluidity, even when the ‘clumsy-meet-cute’ interactions with Anna make for adorable chaos. And the pair are just perfect together, for the time that their characters are meant to be in that state of ‘honeymoon glow.’
Anna (Alyson Kaiser) and Elsa (Amber Bates), peppy princess, frosty-frigid snow queen; you’ve got a stellar set in both Kaiser and Bates. While Kaiser is busy unleashing her inner juvenile every chance she gets, Bates is attempting to keep a stoic composition; it’s really a beautiful yin-yang of personalities come together. What’s marvelously magical are those little moments— like at the coronation when Elsa is being pestered for a dance, Anna steps in and solves the situation; their sororal bond in that moment is so beautiful and genuine, the delicate laughter and smile they share just warm your heart. And when they sing together— “I Can’t Lose You” in the second act being their big, official duet— it’s mellifluous and enchanting. Both are singing from a place of pure heart and familial love.
As Anna, Kaiser is just explosively expressive. She keeps that childlike wonder, stubbornness, silliness, and overall buoyancy about her at all times, even when the situation turns grim. Whether she’s falling headfirst into love with Hans and belting her way through “Love is an Open Door” or mouthing off with Kristoff during “What Do You Know About Love?” or really putting all of her energetic enthusiasm into “For the First Time in Forever”, you get a sense of this puppy-like purity that just radiates through her voice, through her physical and facial expressions and it’s a perfect match for the way the character of Anna is meant to exist.
And for our Snow Queen, Amber Bates brings a sense of formidable majesty to her very stage presence. When she’s singing “Dangerous to Dream” this is this exquisite emotional turmoil that catches in the lyrics and in her vocality; it’s a powerful sensation that transforms that number into something expressive and evocative, digging deep at the feelings for that song. Of course Bates brings her belting A-game for the iconic “Let It Go” but my personal favorite is one that didn’t make the film, “Monster” because it showcases all of Bates range capabilities as well as her ability to infuse a series of mercurial emotions into her singing voice; it’s thoroughly impressive. Bates has developed a highly nuanced Elsa, making her a fully-developed character, which makes her extraordinary to watch.
Don’t miss your chance to catch this epic stage musical at Glyndon Area Players this summer. It’s a feel-good production of Frozen and you won’t want to have to let that go if you miss it!
Running Time: Approximately 2 hours and 30 minutes with one intermission
Disney’ Frozen plays through August 9th 2026 with Glyndon Area Players, currently at Francis Scott Key High School— 3825 Bark Hill Road in Union Bridge, MD 21791. Ticket are available at the door or in advance online.
