arts Article “I Can’t Be What You Expect of Me”: Power, Palatability, and Shame in Frozen: The Broadway Musical Hannah Robbins Department of Music, The University of Nottingham, NG7 2RD Nottingham, UK;
[email protected] Received: 19 December 2019; Accepted: 13 March 2020; Published: 20 March 2020 Abstract: This article combines critical, cultural, and musical analysis to situate Frozen: The Broadway Musical as a distinct work within Disney’s wider franchise. In this article, I consider the evolution of Elsa’s character on stage and the role of additional songs in the Frozen score. In so doing, I demonstrate how the stage adaptation distances itself from the feminist potential in the original animation. Using the lenses of palatability and gendered shame, I argue that Frozen: The Broadway Musical forces patriarchal modes of behaviour onto its heroines. Keywords: Frozen; Disney; Broadway; feminism; gender; power; shame 1. Introduction In March 2014, Disney’s animated hit Frozen sold over three million copies in the US on the first day of its DVD and Blu-ray release, having previously broken records as the fastest-selling digital release of all time (Graser 2014). In the film, Elsa and Anna, the orphaned princesses of Arendelle, fight to overcome childhood tragedy, find emotional freedom, (in Elsa’s case) control of world altering powers, and bring about peace and happiness for themselves and their kingdom. Frozen’s innovative princess-coming-of-age story and its hugely popular soundtrack of songs has captured audiences around the world, and the recent success of its sequel, Frozen 2, has shown the longevity of this popularity.