Frozen @ Greenwich Theatre – Review

Originally performed in 1998, Frozen tells a single story from three different perspectives; a mother who is dealing with her grief after her daughter is abducted and murder, a serial killer who committed this heinous crime and a psychologist trying to figure out why he did it. It’s a harrowing look at the loss of a child and asks the question can a murderer be forgiven?

Starring Kerrie Taylor, Indra Ové and James Bradshaw, the story interweaves between the trio, all speaking through their own monologues. Their interactions are primarily with themselves on their own and their surroundings, which for the audience is ever changing as the theatre uses its space cleverly with a rotating stage and very specific lighting. The director, James Haddrell, who worked with designer Alex Milledge and lighting designer Henry Slater, has created an atmospheric feel throughout the runtime of the play.

It’s intriguing and uncomfortable, as we are slowly taken into what happened to each of them. The play does not show its hand straight away as each character is introduced in different ways. It starts with Indra’s Agnetha who begins her performance within the audience and immediately shows a hint of a vulnerability. We are then introduced to Kerrie’s vulnerable and heartbroken mother Nancy and James Bradshaw’s Ralph as he arrives in prison.

We follow the two primary storylines, both taking place in two completely different settings. as it switches between them without either of them ever leaving the stage. It’s this level of enhanced storytelling that sets this play apart from others. It’s able to show the separate perspectives and interweave them. The only issue with this is, at times it can feel like they are two sperate plays. It works, but not all of the time.

Another aspect which doesn’t always work is the gelling of grieving mother, prisoner and psychologist. Whilst they are all focused on one subject matter, there are issues with marrying them altogether. It’s an interesting attempt at making all into one, but because the scene with psychologist analysing the prisoner don’t quite ring true. What may also impact this side of the play is Indra’s character who has some interesting beats, but it’s never fully explored. Perhaps it is a tad overstuffed, the focus should be on the two primary characters and unfortunately, they have tried to show us some backstory of Agnetha with very little substance.

James’s performance as a serial killer is a mixed bag, which goes from understated to creepy to something perhaps over the top at times. It certainly felt like it could have been reined in here and there. However, Kerrie’s portrayal of a grieving mother is phenomenal, she’s certainly given the most to do. She goes through the motions of someone truly struggling with her grief and struggling with how to move on. There is subtlety in her performance whilst being overt, she conveys her emotions with ease. There isn’t single moment when you doubt what they are going through. The absolute triumph of the play.

This is a fascinating look at every aspect of grief, with some great performances, superb direction, and brilliantly staged. However, not all of it works together as one.