Displaying items by tag: Shannon McEldowney

First published by Hans Christian Andersen in 1844, The Snow Queen has captivated readers for nearly two centuries. Now, The Impostors Theatre Company brings the cherished fairy tale to life at The Den Theatre, reimagining the story as a theatrical adventure that blends wonder, danger, and the enduring power of friendship.

At the heart of the story are Gerda and Kay, two close friends whose lives are upended when a shard of an enchanted mirror becomes lodged in Kay's eye and heart, distorting his perception of the world and leaving him vulnerable to the influence of the mysterious Snow Queen. Drawn away to her frozen realm, Kay vanishes into a kingdom of ice and solitude. Refusing to abandon him, Gerda embarks on a perilous quest to bring him home, navigating a series of magical encounters that test her courage, resilience, and unwavering devotion to her friend.

The shattered magic mirror in The Snow Queen scatters countless shards across the world, infecting humanity one fragment at a time. Even the smallest speck can transform the sunniest disposition into one clouded by despair, not merely pessimism. When a shard pierces the heart or eye, every good thing suddenly appears bad, close friends seem like enemies, and life becomes a perpetual half-empty glass. For Gerda, time is of the essence, as Kay's infection deepens with each passing day, threatening to permanently sever his connection to the people and world he once loved.

The mirror shards can also serve as a compelling metaphor for what has been recognized since the 1980s as Seasonal Affective Disorder (SAD), the very real form of depression often triggered by long winters and a lack of warmth and sunlight, something I personally identify with. As the Snow Queen's seemingly endless winter tightens its grip on the world, joy, hope, and bonds of friendship slowly fade. It's a theme that resonates deeply with me, capturing the emotional weight that darker, colder months can bring and reminding us how essential warmth, light, and companionship are to our well-being.

Another theme here is the avoidant male struggle with a depressed ego and the difficulty of expressing love for his best friend. In this story, it is the boy, not the girl, who is pierced by the negative energy of the Snow Queen and finds himself unable to escape the freezing grasp of numbness and despair. As the infection worsens, Kay becomes increasingly disconnected from the love and joy that once defined him. His journey becomes a battle not only against the Snow Queen's influence, but against his own fading ability to recognize and hold onto the emotional connections that matter most. Ultimately, The Snow Queen is a timeless tale about love, resilience, and the comfort of human connection triumphing over fear, isolation, and despair.

At the center of The Snow Queen are Shannon McEldowney as the determined Gerda and Cee Scallen as the conflicted Kay. Gerda's quest drives the narrative, making McEldowney the emotional anchor of the production, while Scallen's portrayal of Kay charts the character's transformation from devoted friend to a boy caught under a dangerous spell. McEldowney brings heart and determination to Gerda, while Scallen effectively captures Kay's gradual emotional withdrawal. Supporting them is a versatile ensemble of storytellers who bring Gerda's fantastical world to life, including Courtney Marie as the enigmatic Snow Queen, whose imposing and mysterious presence looms over the adventure even when she is not on stage, alongside Hilary Sanzel as the Raven, Bryson David Hoff as the Reindeer, Mara Currens as the Robber Girl, JA Loyd as the Old Woman, Mab De Guzman as the Sprite, Mary Ross as Grandma, and Eilish Morse-O'Rourke as Mother. Together, they embody the colorful characters, guides, and adversaries Gerda encounters along her quest through Andersen's enchanted landscape.

Cee Scallen as Kay (left) with Eilish Morse-O'Rourke as Mother. Photo by Kyle Smart.

Playwright Mallory Swisher, a founding member of The Impostors Theatre Company, adapts Hans Christian Andersen's classic tale under the skilled direction of ITC artistic director Stefan Roseen, a Jeff Award-winning director, with Anna Roemer, the company's resident choreographer and co-founder of Schoolhouse Shakespeare Company, serving as co-director and choreographer. Roseen also serves as Scenic and Sound Designer.

The production also benefits from the wonderfully inventive work of Kimzyn Campbell (Puppet Director), Jackie Bobbit (Props Designer/Puppet Assistant), and Jessica Dommer (Puppet Designer/Props Assistant). Their imaginative use of puppets and props brings Andersen's fantastical world to life in unexpected ways, encouraging audiences to fill in the gaps with their own imagination and proving that creativity can be every bit as magical as special effects.

One especially memorable touch was keeping the theater slightly chilled throughout the performance. It was never uncomfortable but just cool enough to make audiences feel as though they had stepped into the Snow Queen's frozen realm. Equally delightful was the decision to offer blankets to guests as they entered, allowing theatregoers to stay warm and cozy while soaking in the atmosphere. It's a small detail, but one that beautifully enhanced the sense of immersion and demonstrated the production's commitment to creating a complete theatrical experience.

Beneath its fairy tale trappings, The Impostors Theatre Company's production reminds audiences that perseverance, loyalty, compassion, and the transformative power of love remain powerful forces in an increasingly disconnected world. Gerda's journey is not merely an adventure through an enchanted landscape, but a testament to the courage required to hold onto hope when confronted by fear, loss, and isolation. In an age when genuine human connection can often feel fragile, the story's enduring message about empathy and resilience remains as relevant as ever, reminding audiences that even the coldest hearts can be reached through kindness and determination.

I also want to commend both The Den Theatre and The Impostors Theatre Company for their thoughtful accommodation of patrons with disabilities. The Den's intimate upstairs performance space is accessible via an elevator upon request for those unable to navigate the stairs, and I was encouraged to see several guests using wheelchairs and canes able to access the theater comfortably. Equally appreciated was the kindness shown by The Impostors team when arranging seating. Not only did they place me on an aisle to make navigating the space easier, but they took the additional step of asking exactly how many stairs I could comfortably manage in order to provide the best possible view. That rare gesture was especially meaningful because every disability is different, and one never truly knows what another person experiences with their disability or what challenges they may be managing beyond what is visible. It was a simple act of consideration, but one that demonstrated a genuine understanding that accessibility is not a one-size-fits-all matter.

Recommended for audiences of all ages.

The Snow Queen runs November 5 through December 6 at The Den Theatre's Upstairs Mainstage, with performances Thursdays through Saturdays at 7:30 p.m. and Sundays at 3:00 p.m. Opening weekend performances take place Thursday, November 5, and Friday, November 6, at 7:30 p.m. General admission tickets are $20, with reserved seating available for $25. Tickets may be purchased through The Den Theatre box office.

I think I’d better begin by answering some questions, starting with ‘WTF is the title of this show?’ to which I respond, the title actually is "[title of show]."

The play was conceived by a pair of artists in NYC, Jeff Bowen (Jonah Cochin) and Hunter Bell (Casey Coppess). Upon learning of the upcoming New York Musical Theatre Festival, they decide to write and submit a musical. There’s just a few problems with doing that: (1) the Festival is only three weeks away, and (2) they’re determined to write an original rather than an adaptation, but (3) they have no idea what to write about, or even (4) what to name their musical. Coming right down to the wire without a name, they end up using the space on the application form asking for [Title of Show] and name their musical [title of show].

Early attempts clearly illustrate that Hunter and Jeff truly do not have any idea what their musical should be about … not until they realize that their conversations about what to write are more interesting than what they’re actually writing! And thus it happens that these Two Nobodies from New York write a musical about two guys writing a musical about two guys writing a musical.

Shannon McEldowney (left), Jonah Cochin, Robert Ollis (at keyboard), Lexi Alioto, and Casey Coppess .

Jeff and Hunter ask their friends Susan (Lexi Alioto) and Heidi (Shannon McEldowney) to help, as well as Larry (Robert Ollis) to man the keyboard. The four converse and natter and brainstorm, kibitz, palaver and schmooze via a slew of hysterically funny songs, discussing the complexities of receiving money for art (is it success or selling out?) and the problems of loyalties vs. practicalities, learning unexpected lessons about themselves along the way.

I think you could call this a QueerMoot. Actually I don’t know if you could or not but I just did, so it’s done.

If you have any friends of the theatrical persuasion, you will find them depicted in [title of show] by Jeff, Hunter, Susan and/or Heidi; not surprising, as all four characters are (were?) (have been?) real people. I don’t know about Larry … we don’t get to learn much about Larry, who the Union prohibits from speaking any lines. But he sure knows his way around the eighty-eights!

The choreography by Britta Lynn Schlicht was lively and fresh, and wonderfully executed by the cast. It did, however, occasionally hinder hearing. I was ready to blame that on my rock-concert-impaired old ears, until my younger companion admitted having the same problem, from Casey Coppess in particular. I couldn’t tell if this was a problem with miking or with blocking, but I suggest both Director Jay Espano and Sound Designer Valerio Torretta Gardner take a look at this issue.

Props Designer Izadorius Tortuga and Scenic Designer Anshika Pathak wisely used restraint, keeping the set minimalist and letting the play tell the story. I have to give a shoutout for Aidan Lynn Smith, whose Lighting Design skillfully delimited separate scenes; and even louder shout to Projections Designer Joel Zishuk. His projections created an informative background for many scenes, but the piece de resistance was a kaleidoscopic panorama of the Playbill covers from a bazillion musicals!

The entire production crew was ably supported by Michael Lasswell (Technical Director / Scenic Design Consultant / My Favorite Bio Writer), Assistant Music Director Annie Liu, and Assistant Director Taylor Pasche. I once asked a theatrical friend ‘just what does a Stage Manager do, anyway?’, to which they responded ‘Everything.’ Kate Schnetzer assisted Julia Witty in doing Everything, and well.

[title of show] is running at PrideArts Theater at 4139 N Broadway, Chicago, through September 22 and comes recommended.

When I remember John Denver, it’s hard not to think about crisp country air, clean rivers, pristine mountains and, well, just a healthy planet. John loved nature. It was abundantly clear in his music. His life was cut short at just 53 years old when a plane he was piloting crashed into Monterey Bay, but the folk and country singer left quite an impression on the world in his four decades with not only the music he wrote and performed but also his work as an activist and humanitarian.

In Almost Heaven, a musical revue created by Harold Thau, the singer’s longtime manager, John Denver’s life and music are celebrated in brilliant fashion. Currently being performed at nearby Theatre at the Center in Munster, Indiana, Artistic Director Linda Fortunato skillfully directs this wonderful tribute as William Underwood lends his special touch as the productions’ Music Director to bring Denver’s most memorable songs to life.

(left to right) Actors Steven Romero Schaffer, Tommy Malouf, Sara Geist and Andrew Mueller - Photo by Guy Rhodes

While telling the story of Denver’s life from the start of his music career in the 1960’s through his untimely death in 1997, the musically gifted cast takes turns singing and playing songs that include fan favorites “Rocky Mountain High,” “Annie’s Song,”, “Sunshine on My Shoulders” and, of course, “Take Me Home, Country Roads”. The often-moving story touches on Denver’s anti-war stance despite growing up in a military family, his meteoric rise in becoming a household name, his marriage, his love for a rich, clean environment and the impact his music had on so many people. A particularly touching moment occurs when a letter is read from a young fan in China who shares what a positive effect Denver has left on her and her music teacher – even at a time when it was illegal to listen to his music in their country. We are also made privy to Denver’s shortcomings in his later years, since he, too, is after all human.

A rotating cast commands the three-quarter round theater. Steven Romero Schaeffer, Shannon McEldowney, Andrew Mueller, Sara Geist and Tommy Malouf each deliver strong solo and group performances, beautiful harmonies filling the venue as the five also impress on stringed instruments playing along with the Underwood-led band that also features musicians Malcolm Ruhl and Alison Tatum.

Almost Heaven is a well-crafted musical work that flows at the perfect pace while grabbing its audience from the very beginning - and it never lets go. Whether a fan of John Denver’s already or for those that have been recently introduced to his work, this production is sure to entertain and touch hearts.

Highly recommended.  

Almost Heaven is being performed at Theatre at the Center through March 22^nd. For tickets and/or more information visit www.TheatreAtTheCenter.com.