Frosty | Performing Arts Review | Chicago Reader

Frosty 

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Frosty, Emerald City Theatre Company, at the Apollo Theater. Alyn Cardarelli and Steve Goers's modern-day retelling of the adventures of Frosty the Snowman gets major points for staying the course without an ounce of vomit-inducing sentimentality. The conceit is that precocious third graders have built Frosty as a science fair project, and their efforts lovingly reinforce the idea that anything can be accomplished with the right combination of inspiration, all-purpose glue, and dried macaroni. Frosty likens its protagonists' creation to the discoveries of the Wright brothers and Alexander Graham Bell, but magical realism creeps into its Dickensian depiction of small-town life during the holidays.

Frosty also features an undeniable queer subtext. In full schoolmarm drag, Jay Olson does a great impression of Madeline Kahn's accent as Lili Von Shtupp in Blazing Saddles. And if Frosty's costume--a fabulous white fringed jumpsuit that looks ready for Studio 54--isn't enough to out Frosty, Alzan Pelesic's lilting delivery of the character's trademark line ("Hello, world!") is. Anyone wondering what the hell this has to do with Santa and Rudolph might be reminded that the song that inspired this show isn't even about Christmas. Besides, there's plenty of treacle to go around this season--but only one pagan holiday spectacular with a gay snowman.

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