The second part of the Disney film Frozen is coming to theatres at the same time as your premiere. How do you fight against Disney?
We have a piano on stage, a cello, a tuba, we're making musical theatre. That is a unique, wonderful art form that is not competing with Frozen. Our piece will be more reminiscent of the fairy tale template from Hans Christian Andersen. At the same time, however, I would like to show a different type of woman than Andersen. Gerda will not be a girl pining after a friend, no matter how badly he treats her. What sets it apart from Disney, in turn, is that we won't have girls wearing blue dresses, no long eyelash extensions, no wasp waists.

How does one plant new images in the minds of urban children?
The entire room is our stage. The children are sitting in the middle of it, and singers and musicians perform around them. If the children are able to make it to the theatre, I rely on the direct experience. But of course adults are always needed to bring the children into the theatre to begin with.

How do you create a blockbuster?
Good ingredients are humour, warmth and tension. And we have to know exactly what's going on with our audience. With children you can sometimes sense real physical unease if they can't handle what's happening. So we respond to this during rehearsal and ask: how do we need to be on stage? Loud, quiet, or completely still?