The Gateway set off an explosion of theatrical sparks and rocketing fireworks in “Disney’s Frozen: The Broadway Musical,” a Long Island first that opened Friday night.

It was, simply, a night of entertaining alchemy.

The story unfolds with two princesses: Elsa, poised to be queen (Charissa Hogeland), and her sibling Anna (Emily Grace Tucker), who live in the mountainous kingdom of Arendale, and journey towards self-worth (for Elsa) and ferociously keeping their sister bond (Anna). The two leads, Hogeland and Tucker, brilliantly work it via strong, soaring voices, and total belief in their characters as loving sisters. Hogeland is beautifully nuanced portraying subdued self-sacrifice and its profound effects of holding back. Her breakthrough moment in “Let It Go” is a technical wonder, as she tears off her staid blue gown, revealing herself in a silver, off-the-shoulder Bob Mackie-type creation, owning the song. Tucker is an ebullient force, humorous in lively, self-effacing but confident moments. (Watch her pop the villain with a well-placed punch. Go, girl!)

Their younger counterparts start the story, revealing that Elsa has a magical power to create ice and cold that can harm or kill if not controlled, and she accidently hurts Anna. They are orphaned early, thus Anna’s determination to be with her sister. Kudos to

Sofie Da Costa-Wilson as Elsa and Abigail Pirozzi as Anna. (Future greatness here.)

The adorable comedians are the life-size puppets Olaf, the snowman, commandeered by Wesley Slade, and Sven, the reindeer, with Clint Hromsco as his handler, who is the faithful buddy of Kristoff (Christian Brailsford), the rugged iceman. While Olaf expresses his ebullience often and hilariously through Slade, Sven, through Hromsco, does alright with his shuffling, affectionate nudging and sometimes, surprised expressions. It takes imaginative skill to manipulate these characters, as well as sing, dance, and make them real; hats off to Slade and Hromsco.

But there’s also Oaken (Tyler Gallagher), an absolute riot as the over-the-top optimist shopkeeper of Wandering Oaken’s Trading Post and Sauna, dressed blithely in shorts, where Anna, Kristoff, Olaf and Sven find themselves at his Big Summer Blowout Sale for warm clothes in their quest to get to Elsa, who has isolated herself.

Oaken is positively gleeful performing “Hygge” (pronounced as “who ga,” meaning “everything good” in the Danish culture). The audience ate it up and, yes, yelled “Hygee!” during the song. The ensemble dancing as sauna customers with towels, branches, and mugs was a prancing choreographed delight.

Our favorite villain, Mark Ryan Anderson as Prince Hans, is charming at the onset, and he and Anna are a falling-in-love wonder, complete with forward -role somersaults in “Love is an Open Door.”

(Anna later slugs him when his true intentions reveal themselves. Wow! He had us fooled.) The Duke of Weselton (sometimes pronounced Weaselton), played by Ralph Prentis Daniel, starts out as a funny and pretentious fawning royal; then his fear turns murderous.

Christian Brailsford as Kristoff is lovely in singing and character as the decent, thoughtful woodsman, kind to his reindeer companion and to Anna as her guide. Their relationship starts out as friendship, then slowly evolves into love, a sharp contrast to Anna’s quick fall for Prince Hans.

There’s plenty of humor amid the drama, and the cast and ensemble’s awesome dancing and singing urges you to pull on sherpa boots and jacket and join them.

There’s a nod to the environment as Bulda (Ariellys Reynoso) and Pabbie (Errol Service Jr.), Hidden Folk of the Mountain, are the green mythical creatures called upon to help both Elsa and Anna harness the magic of nature.

While “Let It Go” from the “Frozen” movie in won an Oscar for Best Original Song in 2014, (the Broadway show played from 2018 to 2020, cost $30 million to produce, and grossed over $150 million with an attendance of 1.3 million), there are plenty of other numbers to enjoy. The sets are transporting marvels of intricate snow patterns, ice, swirling mist, mountains, a Scandinavian castle, and roaring storms underscored by the orchestra and chorus. The princess costumes are shimmering and beautiful, and the musicians, led by music director Bryson Baumgartel with associate music director/conductor Jake Turski, on keyboard, reeds, trumpet, bass and drums,  punched up the songs and atmosphere with wow power.

While truly a show for adults, a sprinkling of little girls at Friday night’s show in princess gear attended, with even a fab adult princess in the audience, and the Gateway offered “Frozen” merchandise in the lobby.

Magic, sisterhood (ironically, International Women’s Day was celebrated on Saturday), love, and letting go are the themes. But as Hogeland commented in an interview, “Please don’t tell me you don’t like make believe.” The show is playing until April 13. For tickets, click on thegateway.org.