Here’s the New ‘Frozen’ Musical Poster (and Seven That Didn’t Make the Cut)

It’s been almost four years since the animated film “Frozen” made it impossible to unhear “Let It Go.” That’s music to the ears of the Disney Theatrical Group as it readies to open a new high-profile musical adaptation of the movie on Broadway next spring.

It was a tricky assignment for Andrew Flatt, Disney Theatrical’s senior vice president for strategy, marketing and revenue. He knew the poster design couldn’t stray too far from depicting the “Frozen” — a sweetheart story of Princess Elsa and her frosty powers — that fans hold dear.He also knew he wanted a color palette that stuck with ice-cold hues of blue, white and silver.

To make sure the stage version (which begins performances in Denver this month) set itself apart from the film, Mr. Flatt said he wanted a poster to “differentiate” (goodbye, Olaf the snowman) and “elevate” (hello, Broadway ticket prices).

The final show art, from the advertising agency Serino Coyne, is an icy fantasia by Olly Moss, an artist based outside London. The poster features a giant, stylized snowflake with brushy tips that bursts across a sea of azures and indigos. Embedded in the fractal geometrics are silhouettes of a young woman reaching with a dramatically raised arm. For added wow, negative space forms two other likenesses that, as Mr. Flatt noted, people might not see right away.

Detail of silhouettes in the new poster for “Frozen.”CreditSerino Coyne

“A lot of audiences enjoy a secondary reveal,” said Mr. Moss, who is known for creating alternative posters for old movies and is making his debut as a Broadway poster designer here. “It’s almost like a magic trick.” (Do you see the other silhouettes yet?)

Mr. Flatt said that Mr. Moss’s poster got the nod because it was “elegant and confident and special, and also truly unique to ‘Frozen.’ ”

Mr. Flatt recently talked about seven other concepts he considered, drawn from a blizzard of over 100 submitted by Serino Coyne.

His comments have been edited and condensed.


The Problem: Not enough personality

CreditSerino Coyne

WHAT WORKED “We really loved this specific royal blue. Blue can be very cool and sometimes somber, but it felt modern. We referred to this as X-ray Elsa — it had a neon electricity that felt really alive.”

WHAT DIDN’T “We struggled here with expression. Is she joyful? Is she satisfied? What moment in the show are we representing here? Our effort to represent something more human ended up becoming…

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