JADAR

★★★★☆

The first sign of Disney on Ice’s arrival at the AO Arena in Manchester can be spotted from the station, children dressed as their favourite characters, all wagging various violently pulsating glow sticks sold outside the attraction by the typical street vendors (this time stretching from Victoria to Printworks).

Inside, a myriad of colourful popcorn buckets, themed snow-cone holders, and bags of candyfloss are joined by rows of plushies, t-shirts, foam hats, action figures, and bubble wands galore. Walking around, I couldn’t help but giggle at how well Disney merchandise their shows. While there isn’t much there for adults to peruse, the flashing lights, bold colours and sweet treats are sure to draw in younger audiences much to the ire of tired parents, I’m sure!

The rink is surprisingly sparse this year, the ice decorated with colourful star shapes and an enormous Mickey logo-adorned curtain veiling the set pieces and character entrances. At the corners, small boxy platforms allow characters to get up close and personal with the audience. Behind these curtains are… more curtains, as well a neon-lit Mickey ears frame, screaming “You’re watching Disney Channel” to my inner child.

Last year’s centre-piece of screens are gone, making way for more grounded storytelling, although one has to wonder where that portion of the budget went with some (certainly not all) set pieces feeling a little underwhelming at times. Between the briefly used bridge in ‘Belle’, the anti-climatic staircase in ‘Let It Go’ and a strange rocky grotto plonked in Ursula’s contract, there was much to be desired.

In contrast, the reveal of the Beast’s castle with flickering warm candle lights, floating candelabras and castle windows was far more entertaining, as was the vibrant flower-adorned staircase to the 2D Madrigal house. Yet, neither really pushes boundaries, especially for a company known for grand parade floats and gorgeous centrepieces.

Mickey and friends start the show after a brief introductory dance from the rather randomly dressed ensemble, Mickey and Minnie showing them up with dapper costumes dripped in rhinestones and accentuated with splashes of electric pink. They explain the show’s concept, delving into mystical worlds to discover the brave heroes and superstars at their core. Between each story, the clubhouse unites, interrupted by some mischief from Stitch before hyping the audience up for the next action-packed sequence (mainly consisting of Princess tales). This all culminates in Stitch’s guitar showcase, all the characters joining the stage for one final dance before their final “curtain call” lap around the ice. Its far less slapstick than the prior year, prioritising story-telling over gimmicky tricks.

Saying that, stories are drastically abridged and songs are repositioned to create streamlined routines, sometimes to the detriment of the tales they’re telling. Removing large chunks of conflict and changing the chronology makes it a little disjunct, yet its unlikely anyone going to the show isn’t already familiar with the story (or can’t grasp the basics).

Our first heroine of the evening came from The Little Mermaid with a wide-mouthed Sebastian and a legged-plushie Flounder introducing us to the mermaid sisters in ‘Daughters of Triton’ Ariel’s ‘Part of Your World’ showstopper. ‘Under The Sea’ transforms the rink into an awe-inspiring oceanic spectacle with jiving jellyfish with twirling ribbon strands, bobbing manta ray puppets, and an energetic crew of starfish, dolphins and seahorses, decadently illuminated with vibrant neon splashes.
Ariel’s transformation ditches the ruffled shimmering trouser-tail in favour of an aqua mini-skirt, soaring upside-down above the rink in a moment of jaw-dropping rope-work and ariel (I mean aerial!) acrobatics. Rounding off the segment was a playful yet dynamic duet to ‘Kiss the Girl’ decorated with a variety of gorgeous lifts and tricky supported spins.

Moana was just as breathtaking as last year, with the same enchantingly fluid choreography, Zamboni boat, and terrifying Maui mask (although Ursula’s garish glare is just as horrific). Flowing fabrics flitter through the air as Manta Tala dives onto the rink accompanied by a passionate bounding solo from Moana. Maui’s ‘You’re Welcome’, while clunky looking, remains a massive crowd-pleaser.

In Corona, we saw a slightly nonsensical sequence, with Rapunzel meeting the ambitious inhabitants of the ‘Snuggly Duckling’ inn, before returning to her tower to meet Flynn Ryder. Regardless, their elegant twirling duet, framed by multiple warmly flickering lanterns was a highlight of the segment with supple sweeping arms, graceful turns, and smoothly executed spins and lifts. That topped off with the chunky caricature of Maximus the horse (hoisted by two surprisingly synchronised skaters) and a rotating chorus line of flag-bearing skaters made for an entertaining watch. However, I’m admittedly a little bitter that this year’s production gutted the aerial stunts with Rapunzel’s hair!

We then ventured into medieval France, an antlered armchair, numerous tankards, and wooden benches setting up the inn for ‘Gaston’, before the village gawp at the intellectual Belle on her way about town. Belle’s yearnful solo number is met by cute duet as she warms to the beast, before a final lavishly choreographed number with the newly transformed Prince Adam (an effect achieved by smoke, pyrotechnics, and misdirection). Lumiere’s face is a little discomforting with those sunken eyes and human chin but the dripping wax and illuminated wicks draw a little attention away from the horror.

Unsurprisingly, the fjords of Arendelle were next in line (Frozen, and Moana, being mainstays in Disney on Ice since its 2013 release), a flittering snowfall and flake shaped lights fringing the stage before Christoff’s acrobatic solo. Olaf returns for his ‘In Summer’ number, complete with a removable head, and another chorus line of sunglass-wearing flora and fauna, including a slew of holiday-ready birds. Elsa’s arrival signalled the start of every parents favourite number, the ice illuminated by powerful spotlights and projected snowflakes before the arrival of the aforementioned fractal staircase. It’s no surprise that Frozen returns every year. Outside of the movie’s popularity, this routine remains the most intricate and jaw-dropping number of the show, her burgundy cape seamlessly swishing away in a poof of smoke, revealing the iconic glittering blue ice dress. Then a powerful and poised performance with dizzying spins, death-defying leaps, one-legged turns, and enchantingly intricate footwork. It’s pure Disney magic even without added set dressing. My only gripe was the cheap pyrotechnic fizzles. A quick stumble in the finale was met with incredible professionalism, jumping straight back into the action before warmly waving off the audience.

Finally, Encanto showed us the barmy world of Mirabel and the Madrigals, the twerking tutu-skirted donkey ensemble of ‘Surface Pressure’, energetic delivery of ‘We Don’t Talk About Bruno’, with Isabella’s graceful descent via a floral perch, and the frivolous stilted-giants, ribbon-dancing flower-men, and see-saw device levitating a neon-lit performer.

Disney on Ice: Find Your Hero is jam-packed with exciting content. The complex choreography, creative costuming, and cleverly constructed illusions are first-class, giving all the charm of the Disney Parks (albeit with scaled-back sets). While there’s less variety in this year’s circus tricks, the ribbons, puppetry and aerial acrobatics are still wildly astounding. Most costumes are spot-on recreations made shockingly functional while the odd design taps into the uncanny valley. 

Ultimately, it remains an unbeatable skating spectacle, allowing children to enjoy their favourite characters up close and personal, while simultaneously shocking adults with its extravagant creativity. I’d just love something more substantial to match the wonder the show seems to create in its American tours.

Disney on Ice: Find Your Hero runs at AO Arena, Manchester until Sunday December 14 2025 and tours the UK until January 4 2025.