The message in “Let it Go” is quite a valuable one, I must admit. Elsa let’s go of more than her fancy tiara and her cape. She finally comes to accept her identity and decides to not hold back her magical, though dangerous powers any more. In an empowering scene that can even gain the cheers of military men, Elsa undergoes a transformation that allows her to metaphorically and literally unwind from the strict confinements she has lived with her whole life. She also asserts that she can move on from the dark patches in her history. She declares that “the past is in the past” and she will rise not only like the break of dawn, but as a stronger, more confident, and self-appreciated individual.
It has been over a year since Disney’s Frozen was released and that record-topping song “Let it Go” entered our lives. Most people have probably grown tired of hearing Idina and young hopeful Elsas belt (or fail to belt) rafter-height high notes. Especially with this perpetual winter, everyone dreads to hear that the storm is raging on. My neighbors have been particularly patient with my own screeching rendition of this favorite. Yet, while the Frozen-fever has gradually diminished, I still continue to religiously listen to “Let it Go.” Oddly enough, other Frozen tracks have not been subjected to the same devotion. What I would give to never hear “Love is an Open Door” again and I really do NOT want to build a snowman anymore.
The message in “Let it Go” is quite a valuable one, I must admit. Elsa let’s go of more than her fancy tiara and her cape. She finally comes to accept her identity and decides to not hold back her magical, though dangerous powers any more. In an empowering scene that can even gain the cheers of military men, Elsa undergoes a transformation that allows her to metaphorically and literally unwind from the strict confinements she has lived with her whole life. She also asserts that she can move on from the dark patches in her history. She declares that “the past is in the past” and she will rise not only like the break of dawn, but as a stronger, more confident, and self-appreciated individual.
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Given the numerous Broadway shows that laud deep social critique, interpretive choreography, minimalist sets, and metaphorical dialogue, a traditional musical comedy can be a refreshing theatrical experience. On the Twentieth Century revives a nostalgic time when a simple plot, a classical score, and a solid dose of laugh-out-loud slapstick are enough to charm a crowd. Add a brilliant cast headlined by the remarkable stage and screen goddess Kristin Chenoweth to that and you are bound for an entertaining evening. On the Twentieth Century brings the audience on an exciting ride on the Twentieth Century Limited train to New York City. On this sixteen-hour journey, the bankrupt and failing theater producer Oscar Jaffee (The OC’s Peter Gallagher) hopes to salvage his career by signing a new play with movie star Lily Garland (Kristin Chenoweth). However, Oscar and Lily’s paths have crossed turbulently before and the popular and feisty actress is far from ready to cooperate and is willing to play hard-to-get. |
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