Get our free email newsletter with just one click

The Snow Queen review at Polka Theatre, London – ‘an ode to storytelling’

Tigger Blaizem George Wigzell and Isabella Chiam in The Snow Queen at the Polka Theatre, London. Photo: Bronwen Sharp Tigger Blaize, George Wigzell and Isabella Chiam in The Snow Queen at the Polka Theatre, London. Photo: Bronwen Sharp

Mike Kenny’s version of The Snow Queen was written long before Frozen turned the story into a sugar-coated sibling yarn. One of the most appealing things about the Polka Theatre staging is the chance to see a more faithful version of the Hans Christian Andersen original.

Kenny emphasises the adolescent nature of Kai’s capture by The Snow Queen. His mood changes after a fragment of broken mirror lands in his heart and he falls in with a bad crowd; his subsequent luring to the Queen’s palace is pure Freud.

But it’s Gerda who comes to the rescue and who carries the bulk of the show. Isabella Chiam rises to the task as she engages with the variety of robbers, flowers and birds who help her along the way. All are brought energetically to life by director Roman Stefanski, his production playing out on Nettie Scriven’s neat storybook set. Inventive puppetry and projections help to conjure the Queen herself – she may have a heart of ice but has the head of a colander. There’s an enjoyably meta element as the ensemble variously complain about their casting or celebrate their turn in the spotlight.

One area that slightly disappoints is the music, with the opportunity for songs largely passed up and Julian Butler’s soundscape feeling altogether too generic for this otherwise colourful staging.

The Snow Queen makes for quality Christmas family entertainment. The production – which starts and ends in the children’s attic playroom – is an ode to storytelling itself, making it a fitting festive choice for a venue with an impressive track record of bringing these timeless tales to young theatregoers.


We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Inventively staged adaptation of the Hans Christian Andersen story for a young audience