Frozen the Musical in Denver: Full Review and Analysis of 8/17/17


This review is based on the world premiere opening night performance, 8/17/17. There are MAJOR SPOILERS AHEAD. I go into detail about many aspects of the show. I also, as usual, share my opinions and theories. Also, as usual, I call it as I see it. If you can’t handle honest opinions, this isn’t the site for you.

There’s a lot to love about the live version of Frozen, most especially the cast. But my conclusion is that they needed Julie Taymor, the uber talented director who brought The Lion King to the stage, to midwife this show, as well. This show needed to be a spectacle show that focussed on the two sisters’ relationship and journeys to full adulthood, and on Elsa’s ice creations, much as The Lion King manages to both focus on Simba’s relationships and coming of age story, and the pageantry of the costumes and props, without the spectacle overwhelming the characters or story.

In the version I saw last night, Elsa, herself, is pushed to the side in her own story, under the guise of getting to know her and the other characters better. This means that we get to see more of her relationship with her father, the king, which I loved, except that most of the relationship was him telling her to repress her magic and live in fear of her natural talents and abilities. He was gentle and loving with her, but he was afraid of her power and unwittingly forced her into isolation, fear, and repression.

Elsa is a dutiful daughter, so, as in the movie, she obeys him throughout her childhood and adolescence. This alone is not terrible, but it’s hard to imagine a father locking his son, the prince, alone in his room for the entirety of his childhood instead of making provisions for him to be trained to rule before he reached adulthood and was coronated.

Anytime a prince is held back from fully living life, he gets himself out of the house to head off on his coming of age quest/adventure (hero’s/heroine’s journey), which is what Frozen is for Elsa. She also gets out of the house as soon as she’s legally in charge of herself. She goes into the mountains alone and spends time being free, learning to control her powers, finding who she is and what she values as herself, outside of her status as a royal. This is the exact journey that Simba takes when he runs away from Scar after his father’s death. He spends time learning to be himself as he Hakuna Matata’s his way through the forest. It’s the equivalent of Elsa Letting It Go.

But we can’t stay children forever, as Nala and Anna remind Simba and Elsa when they find them in the forest and the ice castle. Simba must fight his battle with Scar and the hyenas to reclaim his father’s throne and prove that he is ready to be a leader and fully an adult. In the movie, Elsa must overcome Hans and the Duke of Weselton, and thaw the ice that threatens Arendelle’s survival in order to prove that she is a worthy queen and fully an adult. Both Simba and Elsa fight and win with the help of their loyal friends and family, and take their places as the rightful rulers of their realms, adults who are ready to become caretakers instead of children who must be taken care of.

BUT- In the new stage version, Elsa did not fight. She was afraid. Afraid of being a monster or being seen as a monster by others. Afraid that she won’t be liked. Afraid she’ll hurt someone, even the people who are her enemies. Afraid she’ll fail.

Elsa’s power is barely shown throughout the show, since the producers and director chose to put very little emphasis on those effects. Marshmallow, symbol of Elsa’s childish anger at her parents and the world, is missing from the stage show. I’m not sure what was supposed to have happened in his place. It seemed like Elsa was maybe supposed to make a gust of wind blow them down the hill, but they basically just darkened the stage for a second and the actors pantomimed tumbling around.

The “ice castle” is made of a little glow added to cliff walls that are already there, and a shimmery fringe curtain. There might be some other minor stage dressing. The “castle” forms while Elsa stands at the front of the stage, with curtains hiding the rest of the set. The curtain rises to reveal the “castle”. We don’t get to see Elsa build the “castle”. The process is literally physically separated from her, and the end result is underwhelming. You’d have no idea what was supposed to have happened if you didn’t know the movie. (This is a frequent issue during the show.) And no idea that she was supposed to have built an entire building by herself in minutes.

So Elsa sings Let It Go, but continues to repress her anger after she hurts Anna. Without her anger, Elsa can’t fight back when Hans brings his men to capture her. She surrenders instead, afraid that she’ll hurt one of the soldiers that’s trying to hurt her. 🤷🏻‍♀️ Her “castle” doesn’t have a chandelier, so the capture sequence had to be changed somehow. There are other options that don’t involve surrender, though. And Phantom has had a falling chandelier for decades now. It’s a fantastic dramatic moment in Phantom. That could have been a great moment in Frozen, too.

After that, Elsa’s a prisoner. We know that her story is building toward the moment when Anna jumps in front of Elsa and saves her through an act of true love, but not much character growth is happening. She escapes from her cell, but it’s accidental, unlike the movie. She has no agency. She’s a fearful child, no closer to true adulthood, unlike Simba at this point in his story. (We were comparing Frozen to The Lion King, remember?)

Once Anna saves Elsa, the two hug, share a moment, then Anna runs over to Kristoff for a very long kiss. The focus of the story shifts very quickly to their romance.

And that’s essentially the end, but for the curtain calls and various reprises. There is no denouement where Elsa shows us that she’s mastered her powers and is taking care of a thriving Arendelle, with Olaf, symbolic snowman, healthy and happy even in summer. All of that is gone.

Elsa does not win her battle. She doesn’t really fight it. She’s a bystander in her own story, while several male characters guide Anna toward saving them both. Elsa is left hanging, a childwoman who is still afraid and unsure, never having allowed herself to take the risks necessary to become a confident adult.

Unlike Anna, she doesn’t have a male partner to continue guiding her, so the show needs to end quickly. They can’t show her using her powers as she rules her kingdom, because they never gave her a chance to master them. She’s still alone because she didn’t get to fight side by side with anyone the way Anna and Simba do. Her only victory is being able to open up her heart to her sister again, but Anna runs straight to her new boyfriend after a brief conversation with Elsa. Elsa is left standing alone, emotionally speaking. She’s still the Ice Queen.

So what kind of a victory have they left Elsa with, as compared to the movie, where, at the end, she’s surrounded by people she’s interacting with in a meaningful way and using her powers for the good of her people? But, hey, at least no one feels threatened by her any more. She’s been put in her place. Is that the message we are trying to send to our little girls?

Meanwhile, Anna’s spunkiness and humor are played up, while her moments of decisiveness and intelligence are given over to the male characters standing in her vicinity. She still has good intuition and is fiercely loyal to Elsa, but she’s easily distracted, and not even smart enough to figure out that she needs to wear a coat in the middle of winter. Kristoff now tells her to wear warm clothes. Olaf has to tell her to call for help after Hans leaves her alone to die. She no longer pays for Kristoff’s supplies at Oaken’s store. Almost all of her resourcefulness is gone, and her good ideas and heroic moments have largely been given to other characters. She’s now the fun, party girl character who’s a bit feral, dimwitted and uncouth. But sweet, loyal and funny, with a heart of gold. Who needs intelligence and resourcefulness when you’re nice, popular and have a cute boyfriend? Wait, that’s another musical, isn’t it?

This means that Kristoff, Olaf, Oaken, Pabbie, Hans, and Bulda have more time and bigger speaking parts. Oaken’s family is now an extended family, no hint that he’s gay that I could see. Oaken gets the 2nd act opening song about Hygge, which doesn’t have a direct English translation, but means something like close, cuddly, warm, cosy, snuggly family times. It goes on a little too long, but it’s a fun, funny dance number and Oaken has become a warm, generous character, once he’s done bartering. Kevin Del Aguila is adorable and charming in the role.

His song ends with his large family coming out of the sauna buck naked and doing a chorus line fan dance with greenery branches. It’s completely random. It goes on and on. I watched the kids around me. They sat at attention, totally still, eyes bugging out, mouths hanging open. They couldn’t figure out what the h*ll was happening or why. Inexplicably, in the middle of Frozen, the entire ensemble of grownups was dancing naked in front of them, like something out of Monty Python or Something Rotten. It’ll be interesting to see if that part makes it to opening night on Broadway.

Bulda is a gift from the goddess. I love Olivia Phillips, I love what they did with the character. She’s not changed from the movie, other than becoming a Hidden Person instead of a troll. There’s just more of this fabulous character, and I want even more of her. She’s also virtually the only  named female character, outside of Elsa and Anna.

Queen Iduna, played by Ann Sanders, who appears briefly, would be the other. She uses a secret chant to call the Hidden People of the mountains to help young Anna. She tells Bulda that she knows their call because she is from the Northern Nomads. Iduna tries to help her husband, King Agnarr, played by James Brown III, get past his fear of magic, but they die before she’s successful. Both actors infuse their characters with warmth and intelligence. I wish we’d had more time with them.

There’s too much of Pabbie. He’s a narrator, of sorts, supposedly easing us through transitions and clarifying scenes. But, he’s also repetitive, and, frankly, a stereotype of the Noble Savage. His main purpose seems to be to tell us what to think. He tells us what the new message of the show is over and over. I think they were trying to create a character like Rafiki from The Lion King, but it didn’t work. As I said in my first impressions, Bulda would have been a much better choice.

Timothy Hughes does great work as Pabbie. He brings a lot of presence and gravitas to the role, as well as an amazing voice. The problem is with the writing, and the original concept of the character. The actors can only work with what they’re given, and he elevates Pabbie’s material.

The Duke of Weselton is played more for humor than villainy. Robert Creighton was good in the role, but they need to make him more sinister and threatening.

Hans’ role is substantially expanded, and he’s one of the characters, along with Kristoff, that I think benefitted the most from the expansion of their roles. He gets a song to explain his background and motivations, with reprises. We get to see him organizing the citizens of Arendelle and having dealings with the Duke of Weselton. I loved john Riddle in the role. He and Patti Murin were wonderful doing the crazy, OTT choreo for Love Is an Open Door. My only complaint is that with the loss of some of Elsa’s meaningful dialogue, such as their conversation in her cell, and the denouement, we also lost some of Hans’ important scenes from the movie.

Kristoff is as wonderful as ever, and now he gets to sing more than a few lines! Jelani Alladin is charismatic, likable, and very talented. One of the best, most fluid dancers of the leads. He and Anna get a lot of funny physical moments together, along with Olaf and Sven.

Patti Murin is a fantastic Anna, as I’ve written before. She was as amazing as I thought she’d be. She has an incredible singing voice with fantastic vocal control. I loved hearing her on Anna’s new songs. She was great with the physical humor and with the verbal jokes. Patti and Jelani have amazing chemistry as Anna and Kristoff. She and Caissie also have great chemistry, though they don’t see each other much in this version.

Caissie Levy is an excellent Elsa. My complaints about the show have nothing to do with her performance. Her voice soars during Let It Go. She pulls off Elsa’s complex emotions and some (literal) on the fly costume changes. She sounds great on Elsa’s two new songs, Monster and Dangerous to Dream. I don’t like that both of Elsa’s new songs are about holding her back, but Caissie gave them her all.

I think it’s strange that Disney didn’t put much effort into the costumes or the effects. It seemed like whenever they didn’t want to reproduce part of the movie as an effect, if it wasn’t essential to the story, they’d just sort of skip that part and let the stage go dark for a second. Weird, since some things could have been replaced fairly simply. Fingers crossed that they improve the ice effects, large and small.

It’s going to be interesting to see how this show evolves. I’m thinking of tonight as sort of the first draft. It’s possible that it’ll be a very different show by the time of the official opening night on Broadway. I’m betting that Hygge gets shortened, at least one song/reprise gets cut, and at least one song ends up being sung by a different character.

And maybe the Hidden People’s tails will disappear. They’re a good 3 feet long, and I saw at least one actor holding his out-of-the-way at one point. Don’t know if it was scripted or not.

The costumes as a whole are just okay. I kind of wonder if they’re using the designs from the theme park shows. Same for the sets. A few were elaborate, most were very simple. They don’t vary much from the movie.

No matter how much Frozen the Musical gets changed on the way to its Broadway opening night, I think it’s important to know that this is the underlying message that the producers wanted to insert into what started out as one of the most empowering female stories in modern times. We went to this performance because of how much we love the movie. I sat through the second act in shock at what I was seeing. To see Elsa and Anna and their relationship reduced this way is a blow against women.

I tend to think that Disney either thinks this show is a surefire hit, so they don’t have to put much effort into it, or, after the failure of The Little Mermaid, they are scared that another princess show will flop and don’t want to waste money on it. That would explain why so much of the story has been transferred to male characters and the females have been weakened and declawed. They want to appeal to boys. But Matilda and Wicked have both been giant hits with strong female characters carrying the shows. Do they really need Frozen to be a bigger hit than Wicked? Frozen is the most successful animated movie of all time. Why can’t they trust that success and trust female audiences?

ETA 9/8/17: Someone got a pretty good picture of the dress and robe/cape thing. Both have drapes and layers that move and flow when Elsa does, and the dress can appear to be different colors according to changes in lighting, so I’ve seen confusion about whether it’s the same dress. It looks the same to me, based on memory, although they could be making small alterations. It’s just the type of dress that can look very different from photo to photo. By this time next year, Disney stores will be filled with replicas of it, every little girl in the country will want one, and there will be no question about what it looks like.

ETA 9/10/17: I will never be done with this dress. 😬 In the new Jennifer Lawrence psychological horror film Mother!, she wears a virtually identical outfit. She’s even barefoot for maximum victimhood. In the film, her character is terrorized in her own home by a couple of uninvited guests. Kind of like what happens to Elsa in both of her castles in Act 2.



ETA: The production also understood that they were making a change to Elsa’s character on a mythological, archetypal level, as symbolized by the costume change that went along with it, which I wrote about in my other post. It wasn’t an accidental change. For most of the 2nd act, instead of wearing her ice gown, in a style associated with adult female power, she now wears a thin, white, shift dress and is barefoot. (It’s a bit similar to the one in this photo, but Elsa’s  is flowing and sheer, looks like rags and doesn’t have a belt. It’s Cinderella’s nightgown.) This look is historically associated with both powerless virgins and witches being led to their executions. Elsa is now sent into her battle for adulthood and her kingdom in little more than rags with no shoes, rather the confidence inspiring outfit she created for herself during Let It Go.

ETA: This was the photo that I originally posted here, but then I thought that the dress was shorter for a while. Now I’ve seen some other images, and I was right the first time, it’s longer, so I’ll put this one back in as well. It’s hard to remember with a flowing scarf hem and a fast moving actress! This isn’t the exact dress either, it’s somewhere between the two, with sparkles on the bodice and more sheer fabric. It’s a fairly popular style these days, it’s just weird for Elsa.


12 thoughts on “Frozen the Musical in Denver: Full Review and Analysis of 8/17/17

  1. Wow, that sounds just amazingly terrible. Can’t believe they did that. Or thought it would be…oh, who am I kidding? The word “Frozen” will sell a billion tickets to 9-year-old girls no matter how bad it is.


    Liked by 1 person

    1. Yes, the little girls were thrilled to see their favorite characters and hear their favorite songs live. But, no one has had much time to digest it yet, and critics won’t review it for weeks. The show may change by then, or more people may start thinking about what they’re seeing. Most people don’t obsessively analyze media like metawitches. We can’t stop ourselves. And it’s not all bad. It’s still thrilling to hear Let It Go!


  2. I saw the original Wicked in San Francisco (with Kristin Chenowith). It was enjoyable but rather convoluted in its debut form. It was no doubt rewritten and reworked over and over before its Broadway debut and became a huge hit (although far from my favorite show). FROZEN will no doubt be reworked some before hitting Broadway. Yes…it is a sure fire hit for Disney and merchandizing alone (judging from the lines at the merch. stand) will help Disney recover its original investment over and over. Since I did not see the original movie-version FROZEN (yes…there is one person out there who didn’t!!!), I do not know the difference in the plot line that is discussed in this review. However…I found the show to be terrific entertainment as did the rest of the audience, judging by the applause throughout and the cheering. I thought it was brilliantly staged and using gimmick props as was done in the Lion King, would have been ridiculous. There is only one Lion King and it needed to have props to have anything going for it as a musical. FROZEN has a phenomenal cast….from the leads who all have excellent singing voices…to the backup dancers. There are some very unexpected staging twists…and it is well-written and quite amusing. PATTI MURIN is a BROADWAY STAR.
    She shows up in the majority of the scenes and every time she is on stage she captures your attention. She is unbelievably funny and real. Her voice is amazing. Elsa has a very minor presence in the show actually although you focus on her. The big song from the show LET IT GO that she sings starts off quite lame…her voice is not strong initially which I thought was preposterous but then voila….the quick morph and then she power sings LET IT GO until its conclusion and intermission. The audience roars its approval of the first act with applause and cheers. FROZEN is a sure fire Broadway hit and while I can’t reference the alteration of the story from the original movie version, for me FROZEN worked quite well. Not my favorite type of musical…it’s Disney…but they did a fine job with this one.


  3. Wow. Did you even actually pay attention to what I wrote, or just decide to disagree with me? I’m sure many people agree with your thoughts, so I’m going to respond briefly right now, and then maybe I’ll post a longer response in a few days. I need to get on the road right now, and I saw the show again last night, so I need to finish writing about the changes made to the show between Thursday and Saturday, and the insights I gained from a second viewing.

    You actually made many of my points for me. Of course it’s still an amazing, entertaining show, especially for someone who doesn’t know what to expect going into it. You don’t become the most successful animated film of all time without having something going for you. The characters and songs are sill there. The bones of the story are still there. The excitement of a fully choreographed, live Broadway show is there. Every girl in that audience has waited years to see that. As did I. As I said in my review. But, if you didn’t see the movie, you won’t realize that important aspects of a story that’s very important to females, because we’re rarely given a story like this in mass media, have been taken away.

    The changes are often subtle. Character traits, lines of dialogue, the focus of scenes, etc. have shifted. As you said, Elsa is now a minor character. She is not, in the movie. She is a star. She sings the giant, global empowering hit song for a reason. If you haven’t seen the movie, you aren’t going to notice. If you aren’t attuned to the times that men end up talking over women in real life, you aren’t going to notice. If all you want from the show is terrific entertainment, you aren’t going to notice or care.

    If you care about the messages that are being sent to girls in our culture by the pervasive media giants such as Disney, then changes made to the personalities of popular characters like Elsa and Anna matters. That’s what I write about. I’m not writing fluffy reviews about makeup and jewelry here. I’m examining institutional and internalized misogyny, in addition to enjoying the media I consume in all of its silly, fluffy glory. Hence the disclaimer at the beginning of the review, which I guess you missed as well.


  4. Thank you for your honest opinion, it’s obvious you know what you’re talking about. I’ve already seen too many “reviews” from laymen praises this thing that’s already turning out to be the third, underwhelming stage adaptation of recent hugely loved movie that is a mix of it’s previous two stage adaptations at Disneyland and the cruise line.


  5. Thank you! I haven’t read anyone else’s reviews, other than the comment above and a local Denver news report, since I wanted my opinions to be my own. I’m just a laywoman, too, but I’ve been attending theatre productions for 45 years and have a sister who’s a costume designer. I was the Anna to her Elsa and followed her around while she was getting her Bachelors and Masters degrees in theatre.


  6. I think you’ve really got the whole thing wrong here. Just saw the show today and loved the deeper bond between Anna and Elsa. In the movie, it was hard to understand why Else would hide her powers from Anna but it made complete sense in the musical. I loved that there were several opportunities to see that Elsa cared for Anna as deeply as Anna cares for her.

    As far as comparing Elsa and Simba goes…I don’t really think that’s a fair comparison. In my mind, Frozen is not a coming of age story, it’s a story about the power of deep love between family and its message is that “love thaws a frozen heart”. In the end, the story of Frozen is really more about the bond between sisters: Anna learns to recognize what love is and isn’t, and Elsa learns to accept Anna’s love and thereby unlocks the secret to controlling her otherwise frightening powers.

    Female empowerment doesn’t have to look like violence. The inward battles we all fight to accept ourselves and one another and to give and receive love are just as empowering to focus on. Not every empowered woman has to be a “Katniss”. I thought Elsa’s journey to discovering that her life has value and that she doesn’t have to live in constant fear was insightful and inspiring. So many people can identify with that particular journey.

    I also seriously disagree with you assessment of the stage effects. They were absolutely dazzling and Disney has obviously spared no expense creating an elaborate parade of sets, lights and magic.

    The musical was by far superior to the movie and I think it’s going to be a huge hit.


    1. So basically you didn’t really watch the movie.

      Elsa starts out an inexperienced princess who’s unsure of who she is and what she can do, and then she’s crowned queen, then she runs off and gets to know herself on her own (Let It Go, that huge global hit that defines the movie), then learns how to integrate who she is with society. Anna starts out sheltered and inexperienced, then learns what love really means – they both do, in fact. They start out inexperienced and sheltered and go through journeys of discovering themselves and understanding how they fit into the world, and reconnecting with each other as adults. Not sure how you’re missing the coming of age thing here.

      When a woman is being attacked with violence and she uses violence to defend herself, AS IS NECESSARY, that’s not making her Katniss. In fact Elsa and Katniss have very little in common in terms of their journeys, and I’m sick of Katnisses. I’m just also sick of women being seen as Bad for defending themselves when they’re being attacked. In the movie Elsa’s journey is not about discovering that her life has value – she never questions that in the first place. She only questions her place in society. And yeah, kind of the whole point of this review is that the story is supposed to be about the sisters and the musical made it about Anna finding love with Kristoff and Oaken and the sister relationship was an afterthought?

      The musical, as it was on opening night, is vastly inferior to the movie and directly rejects all of the incredible messages that the movie sent.


    2. Hmm, am I being amazingly unclear in this review, or are people reading it who have poor reading comprehension skills? Or people who have no concept of metaphor?

      This is a review of opening night. There have been a week and a half’s worth of performances since this review was written. I’ve been told by someone with the production that they are making changes to the show every day, as is usual for out-of-town previews. As I noted somewhere in my 3 reviews, possibly all 3. If you read the review of the 8/19 show, you can see that I note that they clearly had already improved the lighting and effects, and fixed parts of the set that weren’t working on opening night.

      You saw a different show from the one that’s reviewed here. How different? No idea, so I can’t really respond to specific criticisms. I will say that there was no doubt in my mind that Elsa was absolutely devoted to Anna. It was Anna’s devotion that was in question, which was a devastating change from the movie, and called the sisterly bond and the message of the show into question. If they’ve changed that, so much the better.

      Most Disney shows are hits, regardless of their quality. It doesn’t make anything I’ve said wrong.

      Liked by 1 person

  7. Good thoughts,although I might suggest that one reason the staging effects might not be outstandingly exceptional is because this is a review opening in a temporary home. I suspect they are furiously building amazing sets in the permanent home in NYC.
    Also, interpretation of the emotions presented might be a little…premature. If you saw the first or second performance I guarantee the actors, musicians, everyone, was still feeling their way. I doubt the performance at the end of September will be the same.
    And the creative team will be tweaking right up until Feb. 22, based on what they saw in Denver.
    There’s something to be said for Elsa’s dress reflecting her inner turmoil. I mean, really, in the movie, it was frankly … odd (IMHO) that the woman is running up stairs two at a time in ice heels and a slinky dress.
    Your friend in the production can probably fill you in on what’s going to change between Denver and NYC based on what’s been happening so far.
    I heard a recording of 8/19, and another of 8/31. The actors were definitely interpreting things a bit differently. I’m not a theater major or anyone with any background in theater except as a happy consumer.
    And I have tickets for NYC in April, so I will be looking forward to seeing it live and in person.
    Thanks for your review. It’s always good to see different viewpoints of things.


  8. Thank you for your comment. I saw the show twice, and I can assure you that I was interpreting the emotions and intentions correctly. The actors were well rehearsed and performed the roles as intended. In the 8,000 or so words that I wrote about the show, I never criticized the actors’ performances. Of course the performances are being tweaked, that’s what the pre-Broadway run is for. My problem was with things other than the actors.

    Shows do change between their pre-Broadway runs and opening night on Broadway, but usually not as much as you suggest (unless it looks like the show is a bomb- Frozen is not). The out-of-town sets, costumes, songs, script, etc. are meant to be close to the finished product, and tweaked only when and where necessary. It doesn’t sound to me like much is being changed, just the normal adjustments that I predicted in my reviews.

    I didn’t say I have a friend in the production. A commenter gave me some information.

    Elsa’s dress doesn’t reflect inner turmoil. White has never been used to symbolize inner turmoil. That dress and her bare feet symbolize weakness, helplessness, virginal purity, innocence, being brought like a lamb to the slaughter, and victimization. In the new Jennifer Lawrence horror film Mother!, she wears a virtually identical outfit. In the film, her character is terrorized in her own home by a couple of uninvited guests. Strikingly similar to Elsa’s situation in Act 2, isn’t it?

    Elsa wasn’t about victimization in the movie. She was a symbol of strength and empowerment. Adult women keep coming and telling me, now, that she’s actually a symbol of victimhood and mental illness, which honestly saddens me for y’all. I don’t know how to get through to people who are so invested in the patriarchy that they can’t tell when women are strong and when they aren’t.

    The little girls who hadn’t had a chance to be damaged yet could see the truth, but now they won’t have that chance anymore either. They’ll go between the movie and the musical and be manipulated into thinking that the way the female characters are treated in both is the same, and okay, and that it’s okay for them to be treated that way as well.


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