The superb stage version of 'Frozen' makes the Opera House sizzle

Transforming a beloved Disney movie-musical to the stage can be challenging. But the touring Broadway production of "Frozen," at the Citizens Bank Opera House through Nov. 12, strikes exactly the right balance of hewing closely to the 2013 film while beautifully reimagining moments for the stage. The result is an enchanting and absorbing production that, while geared to the younger members of the audience, will not disappoint adults.

Although loosely based on Hans Christian Andersen’s “Snow Queen,” “Frozen," benefits from writer Jennifer Lee’s unconventional approach to traditional fairy tale fare. After tragically losing their parents, Elsa, the new queen discovers she is unable to control her powers and flees her castle in Arendelle, leaving destruction in her wake. While she is hunted as a monster, her spunky younger sister Anna refuses to give up on her and their love for each other saves the day. In an inspiring twist, Lee shifts the trope of an evil spell being broken by a true love’s kiss from a handsome prince to the true love of two sisters for each other.

The film’s eight original songs by Kristen Anderson-Lopez and Robert Lopez (“Avenue Q”), have been expanded to 21, with several providing important character development, including the early years of Elsa and Anna together (“A Little Bit of You” in addition to “Do You Want to Build a Snowman”); the introduction of the Trolls (“Hidden Folk”); Hans, the handsome prince with a dark secret (“Hans of the Southern Isles”), as well as two new songs for the iceman Kristoff, who, along with his reindeer Sven helps Anna find her sister (“What Do You Know About Love” and “Kristoff Lullaby”).

Rather than slow down the action, these additions provide the story with some depth and breadth, and the composer-lyricist team never strains to deliver playful and heartfelt messages. Thanks to the brisk pace set by director Michael Grandage it doesn’t take long before we are out in Elsa’s world of icy castles. Say what you will about earworms, the timing of “Let It Go,” at the end of Act I, makes it irresistible — just ask the audience who happily sang along.

Of course, it helps that this touring cast, presented here by Broadway in Boston, is top notch, with Caroline Bowman delivering a searing rendition of “Let It Go,” along with the heartbreaking duet “I Can’t Love You” with Lauren Nicole Chapman as Anna. Bowman is never less than regal in her portrayal, although the early scenes as children allow us to see the cost of secrets (“Dangerous to Dream”). For her part, Chapman is endearing as the slightly goofy, but oh-so-courageous little sister who is open to adventure with Hans (“Love is an Open Door”) and displays her determination with Kristoff (“What do You know about Love”). Her dance number with Hans displayed both her athletic prowess — those flips! — and her character’s love of adventure.

The audience favorites, though, were Olaf the summer-loving snowman and Sven the reindeer, both of whom received rousing ovations when they first stepped onstage. Again, the stage adaptors made brilliant choices here, with Jeremy Davis, in a white, elfin-like costume, visibly manipulating an Olaf puppet while Collin Baja (at the performance I saw) was completely invisible as a shaggy-haired, four-legged reindeer. It was striking how much Davis’ expressions, not to mention his terrific vocals, added to the character, while Baja, although silent, communicated through the reindeer’s goofy moves. Preston Perez as Hans and Dominic Dorset as Kristoff manage to provide their characters with some much-needed nuance, as evidenced by the audience’s eager booing of Hans at a pivotal moment and cheering for Kristoff (or maybe it was Sven) as they come to the rescue.

But the most extraordinary element of this musical is Rob Ashford’s exquisite choreography in conjunction with Natasha Katz’s evocative lighting. Not one movement is extraneous, with the choreography always essential to the storytelling. The opening scene’s Maypole dance invites us into the community of Arendelle, while a silent dance combination during the coronation suggested a bit of the Macarena for the Coronation, and OK, I admit the crowded sauna number that culminated in a kick line was just to give the grownups a chuckle. The dance moves are never filler, always serving as transitions between scenes, with dancers forming the storm that sank the ship that carried Elsa and Anna’s parents; creating the feeling of constriction among the hunters encircled by jagged walls of ice; and most impressively, shaping themselves into the block of ice that was once Anna.

Full disclosure: I attended with my 8- and 11-year-old nieces who were as enchanted by the theatrical magic – the appearance and disappearance of icy structures, not to mention Elsa’s sudden transformation into her ice princess gown – as they were by seeing the story come to life on stage. And honestly, it doesn’t get any better than watching kids, mouths agape, leaning forward in their seats sharing a theatrical experience, and singing along for the finale.

"Frozen," presented by Broadway in Boston, continues at the Citizens Bank Opera House through Nov. 12.