CAST More than 100 actors, dancers and puppeteers are involved (about 3,500 auditioned), but Disney declined to identify any by name. With so many daily performances, a spokesman explained, numerous performers share the lead roles. (Disney also, ahem, takes the suspension of disbelief to an extreme at its theme parks: As an usher told a child before a recent performance, Anna and Elsa are real and played by themselves.)
RUNNING TIME 55 minutes
AUDIENCE The mouse-ears-wearing masses. Everyone from babies to older adults took in a recent performance, with a handful of people in prime seats holding up their phones to videotape the opening number. “There’s going to be a lot of people who have never seen theater before,” Ms. Tommy said in an interview.
COST TO ATTEND Ostensibly free. But the Hyperion is inside Disney California Adventure, one of two theme parks that make up the Disneyland Resort. Admission to California Adventure is $95 to $119, depending on the day.
HOW IT DIFFERS FROM THE FILM “It’s 10 times better than the movie,” a Disney usher named Yvonne (from Lakewood, Calif., according to her name badge) told guests as they waited in line for nearly an hour for a recent performance. Some film fans may disagree. Some songs are abbreviated and ancillary scenes and characters are cut. There is no Marshmallow (the ice monster), for instance, and Anna does not wander into Wandering Oaken’s Trading Post and Sauna.
How it differs from other ‘Frozen’ adaptations A lot more bells and whistles. “People are coming in here full of adrenaline, they’ve been on rides,” Ms. Tommy said. “How do I top that?” There’s a lavish 2,200-square-foot video wall, a sequence in which Sven the reindeer literally flies, and lots of fake fog.
‘Let It Go’ Moment Hold on tight: Elsa belts it out while standing atop a towering set of crystal stairs that rotates out over the audience.
DIRECTOR Alex Timbers. An unconventionally witty theater director known for his steampunk aesthetic, he has twice been nominated for Tony Awards, for directing Disney’s “Peter and the Starcatcher” and for writing the book for “Bloody Bloody Andrew Jackson.”
OTHER TEAM MEMBERS Music and lyrics by Kristen Anderson-Lopez and Robert Lopez, who wrote the film’s score, and a book by Jennifer Lee, who wrote the screenplay and directed the film. The set design is by Bob Crowley, who has won multiple Tony Awards, including for Disney’s “Aida” and “Mary Poppins.”
STATUS A developmental lab (two weeks in which actors, accompanied by keyboards and drums, read and sang, using scripts on music stands, before an invited audience that at one point included Mr. Iger) was held in New York last month. A pre-Broadway run is planned at the Denver Center for the Performing Arts in August 2017, and Disney said that it planned to move the show to Broadway in the spring of 2018.
CAST At the developmental lab, Betsy Wolfe (“Bullets Over Broadway”) played Elsa, Patti Murin (“Lysistrata Jones”) was Anna, Okieriete Onaodowan (“Hamilton”) was Kristoff and Greg Hildreth (“Cinderella”) was Olaf. Although actors often remain with productions from the developmental process through full productions, Disney has not committed to casting for the Denver production; that cast would likely continue on to Broadway.
RUNNING TIME Two full acts, presumably running two to two and a half hours.
AUDIENCE The Broadway audience is older than that at the theme parks; most ticketbuyers are women. Disney’s shows attract more families with children than do some more adult-themed Broadway shows, but the company says its shows also draw many adults without children.
COST TO ATTEND Prices have not been set, but full-price tickets to “The Lion King” on Broadway are $99 to $199, with premium seats for up to $225.
HOW IT DIFFERS FROM FILM Live actors, obviously. An expanded story and an expanded song list — there are eight (and a reprise) in the film, and this production will probably have at least twice that. Among the new songs is “True Love,” an Act II ballad sung by Anna after Hans, a scheming prince, betrays her and locks her in a palace room.
HOW IT DIFFERS FROM OTHER ‘FROZEN’ ADAPTATIONS The Broadway version is the only one with new songs and new book material. It will be the most fully realized and ambitious theatrical production.
‘LET IT GO’ MOMENT The song, thanks to its soaring sound and stratospheric popularity, is now the first act’s closing number.
Disney Cruise Line
OTHER TEAM MEMBERS Disney has not publicly confirmed this production, but casting notices this year said that Josh Prince, whose Broadway dance résumé includes “Beautiful: The Carole King Musical” and the short-lived “Shrek the Musical,” would be the choreographer.
STATUS Still in the early stages. There has been at least one run-through, but this musical is planned for the 875-room cruise ship Wonder, which is headed to dry dock this year for refurbishment.
CAST With limited living quarters for performers, Disney’s ships often look for people who can simultaneously play a range of characters. But the casting notice for this effort included some specific requirements. For the role of Kristoff, for instance, Disney advertised for a baritone who stands six feet tall or more and can play a “rugged blue-collar type, a little rough around the edges, yet endearingly awkward.”
RUNNING TIME The show that will likely be replaced, “Toy Story — The Musical,” runs about an hour in the Wonder’s 975-seat theater. (Or “glitzy high-tech theater palace at sea,” if you’re going by the Disney Cruise Line website.)
AUDIENCE Disneyphiles. While intended to appeal to a wide range of travelers, guests tend to be well acquainted with Disney’s singular style of entertainment, and that means any efforts to cut corners are noticed.
COST TO ATTEND Included with the price of passage, which starts at $507 a person (plus port fees and taxes) for a three-night, inside-room Bahamian cruise.
HOW IT DIFFERS FROM FILM Like the theme park version, this will be about presenting what’s in the movie — in boiled-down fashion — for already captive crowds.
HOW IT DIFFERS FROM OTHER ‘FROZEN’ ADAPTATIONS Disney Cruise Line, which mounts its stage productions without much interaction with its corporate siblings, bills its musicals as “Broadway-caliber.” Marketing pitches aside, this show will almost certainly be the least extravagant.
‘LET IT GO’ MOMENT You can bet that the climactic scene will include fake snow. Choose your seat wisely.