REVIEW: The Snow Queen, with The Imposters Theatre Company.
There's been a noticeable lack of mirth and whimsy in Chicago's theatre scene as of late. Throughout the 2000s and 2010s, shows that emphatically embraced the art of play - typically by adapting myths and legends and public domain storytelling into outsized fantasy extravaganzas - were often the domain of mid-sized theater companies like The House Theatre or The Hypocrites. Those companies were far from perfect - grandiose theater-making on a "middle class" budget is only sustainable for so long, especially in environments whose "boys club" mentality can create a limited scope for imagination and inclusivity - but their long-term goal of making theater that tapped into a shared sense of youthful joy and energy felt like a balm in a city often obsessed with naturalistic performance and presentational design. These shows gave audiences the space to let their imaginations run fancy free.
Outside of the infrequent (and somewhat controversy-laden) productions put up by Lookingglass Theatre Company, or the genre-spanning literary adaptations up north at Lifeline Theatre, there aren't a lot of other companies who seem to be trying to fill the fantasy-shaped hole that's been left in our community. Well, I guess that's where The Imposters Theatre Company have stepped in, now with their latest show, The Snow Queen, directed by Stefan Roseen and Anna Roemer, leaping onto one of the many stages at The Den Theatre just in time for the holidays. I'm ashamed to say that this is my first encounter with The Imposters, who have been weaving whimsy for close to a decade now, but I'm glad I finally found my way into their web. Their work has an unabashed love for practical theater-making, image-based staging, and cozy tenets of story theater. I think they're on their way to becoming Chicago's preeminent home for magical theatrical storytelling.
I say "on their way" because The Snow Queen (adapted by Mallory Swisher from the classic Hans Christian Anderson story) announces itself with joyful confidence, before awkwardly stumbling its way towards its conclusion. For every stunning moment of synchronized stage craft, there's a too-long monologue pontificating on themes that could've been summed up in half the time. For every performer gleefully in-line with the tone of the show, there's another whose energies are completely asynchronous with those of the production. For every note of Dominick Alesia's gorgeously composed, Joe Hisaishi-esque original score, there's a joke falls flat or undercuts the genuine spirit of the play. A shame, then, as the ambitions of The Snow Queen remain noble and earnest and completely in line for what I think we need more of in theater these days.
It's a simple enough story, too; a wicked shard of glass falls into the eye of a young boy, Kay (a winning Cee Scallen), turning his prior delight and wonder into cynicism and anger. This newfound hate-filled spirit leads him to be captured by the eponymous Snow Queen (Courtney Marie, a commanding presence giving am appropriately chilly performance). It's up to Kay's friend Gerda (the production's performance north star, Shannon McEldownney) to traverse the wintery world to rescue her friend from the clutches of the villainous Snow Queen and bring some light back to the world.
The production's episodic nature (what is this, The Odyssey?) means that the variety of sequences provides ample opportunity for new characters and moments, put also results in a lack of forward-momentum which often proves treacherous. Perhaps most frustratingly, Roseen and Roemer are clearly expect image makers, yet the production will often go to the trouble of tying endless text and monologues to stage pictures that already do the talking for them. Must we have Kay talk through the woe they feel when they're also heaving around an ice kingdom in their arms, already conveying that same message? Do we truly need to hear a raven monologuing while serenely flying through the clouds? Are the clouds not enough on their own?
Despite the misgivings provided here, I do wholeheartedly recommend seeing The Snow Queen, mainly because it's the kind of theater I dearly miss seeing in Chicago. There's a heart-on-its-sleeve, genuine nature to the proceedings that you can't really fake these days (heck, they even offer you blankets before the show in case you get cold!), and to see that spirit of generosity in action, well, it warms the heart, doesn't it? Even if The Snow Queen isn't going to be one of my favorite shows of the year, it has undoubtedly made me a fan of The Imposters from here on out. I have the utmost confidence this company will continue to reach for new heights. I look forward to seeing where they go.
The Snow Queen runs an estimated 90 minutes with no intermission, and performs at The Den Theatre (1331 N Milwaukee) through November 21st 2026. Tickets are available HERE.
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