Behind-the-scenes look at SCT's "The Snow Queen"

The city may not be covered in white just yet, but over the past few weeks, a flurry of imaginary snowflakes has been whipping through a rehearsal room at Seattle Children’s Theatre. The workspace, set above the auditorium, swirls with energy as the cast and crew of “The Snow Queen” fine-tune this wholly new adaptation of the 1844 Hans Christian Anderson fairytale.

Photo by Candice McMillan

On this particular rehearsal day, actors Nabilah Ahmed and Sydney Rae Blosch, understudy for Adele Lim who joined a bit later, were preparing a scene in which their characters experience a surprise snowfall, ushering in the arrival of the titular Snow Queen, portrayed with austere composure by Brenda Joyner. Ahmed’s understudy, Ricky Spaulding, was nearby, wordlessly working through the scene with his lead. Popping in and out of the scene, actor Khanh Doan was modifying her character portrayal of Grandma.

The actors moved through it with the occasional need for line recall, offered by attentive stage manager Elizabeth Stasio, seated at a table up front. The actors also worked out the minutiae that make live theater a wonder. In rehearsal, stripped of the mesmerizing set pieces and lacking the ambitiously detailed costumes, the dedicated actors are allowed the time and space to focus on the decisions their characters must make in every moment while on stage.

The director of the show gives notes at rehearsal. Photo by Candice McMillan.

As the scene finished, director Johamy Morales stepped in. She spoke calmly and with an assured presence. As directors often do, she had some notes about minor proposed alterations or inquiries into character motive and authenticity. Doan had been putting on an inconsistent limp for the elderly grandmother. Perhaps she suffers a lower back injury, Morales mused. Or a weak leg. Whatever it may be, Morales encouraged Doan to find what it was and lock it down. Doan immediately moved to the back of the room to work it out.

The director’s point of view

“I take a lot of time and pride that people feel welcome and included,” Morales said warmly during our tête-à-tête. Rehearsal was taking a scheduled break, and we stepped outside the space to discuss her vision for “The Snow Queen.” “I can’t possibly have all the ideas.”

Director, Johamy Morales. Photo provided by Seattle Children’s Theatre

Collaborative is the best word to describe the rehearsal process for this production, an amalgamation of ideas, voices and perspectives. Sketches of the elaborate sets and intricate costumes lined the rehearsal space walls, a constant reminder of the world they were creating. At one point, a technician walked into the room and drove out of it in a motorized boat; he needed to test that its battery would last the play’s runtime. There are lighting and sound technicians and gurus of set logistics. Morales oversees them all. A 25-year Theatre for Young Audiences veteran, she moved to Seattle six years ago to join SCT as Director of Education & Engagement. She currently serves as the Associate Artistic Director, and “The Snow Queen” will be her second SCT production in the director’s chair.

Photo by Candice McMillan

All about the timing

In the next scene, Ahmed had questions about her character Kay, a young boy lured into the Snow Queen’s mysterious world. This is a technical scene involving the recitation of numbers set to the rhythm of specific musical notes. It was proving tricky to time up. Much of theater is a dance, a technical puzzle where all pieces must fit. After more tries and a brief discussion, Morales and Ahmed agreed that taking the scene home would give her the time to turn it into muscle memory.

“I’m all about process,” Morales said. “Being in the rehearsal room, thinking of all the parts, problem-solving things and challenges that come up once you get a story up on its feet. Those are my favorite parts of the process… The lightbulbs and magic and ‘a-ha’ moments start to happen in the [rehearsal] room.”

Celebrating 50 years of theatre with The Snow Queen

SCT takes pride in its thoughtfully curated productions for kids of all ages. “The Snow Queen” is the crown jewel in its 2024-25 season, which is also its 50th anniversary. This beloved fairytale by Danish author Hans Christian Anderson is some 96 pages long and delves into much darker themes and imagery than is appropriate for SCT’s recommended age for this show (6+).

Just as other properties have used, refurbished, or retrofitted Anderson’s source material—Disney’s animated feature “Frozen” and the “Chronicles of Narnia” book series by C.S. Lewis are just a few examples—SCT’s “The Snow Queen” was a process of collaborative innovation, born from a unique partnership with Western Washington University’s Theatre Department. After extensive workshopping, it was publicly read at the National Nordic Museum for further feedback, which was incorporated into its final iteration.

Art provided by Seattle Children’s Theatre

The culminating script by NY-based playwright Matthew Opatrny has condensed and modernized Anderson’s work into a show poised to become a local classic and annual Seattle tradition: SCT plans to bring the production back every year during the holiday season. If the “Nutcracker” ballet, with its extensive runtime, overly sophisticated storytelling, and often hefty ticket cost, is not approachable for families, then “The Snow Queen” will be. It runs 80 minutes without an intermission and isn’t more than the average ticket price of other SCT productions. Like most shows at SCT, there will also be Access performances, including ASL interpretation, audio description, and sensory-friendly accommodations.

The story of The Snow Queen

SCT’s “The Snow Queen,” tells the story of Kay and Gerda, whose friendship is tested and whose lives are put in peril by the Snow Queen. She’s a beguiling, enchanting, but also dangerous figure. Gerda embarks on a perilous quest into a world of magic, singing flowers, talking animals, and important childhood lessons to save her friend.

“I hope that audiences, especially adults, are more open to talking to young people about their emotions, about their relationships and about what it means to listen to your environment and surroundings truly,” Morales said. “More importantly, Gerda finds out how to listen to her own self and what that means for a young person to be empowered that way.”

Though the production is geared towards younger viewers, Morales was sure there were morals to impart to the older crowd, too. Those morals include the importance of allowing kids “autonomy in building relationships” and “talking about [their] feelings or emotions, especially if [they] are male or a boy-presenting individual.” She hopes this show fights the “persona of masculinity that we equate to positivity and [the idea] that femininity is not as powerful.”

Photo by Candice McMillan

The set, tech and costumes

The hard work of the show’s talented cast will undoubtedly pay off with a charming and engaging end product. But there will be significant help on the main stage, thanks to the production and costume designs. Scenic designer Matthew McCarren has layered the set with multiple pieces to give it a grander sense of space and a greater sense of distance traveled to new and magical worlds. The set pieces and the costume design by Jazmin Aurora Medina were inspired by the Sámi, Indigenous peoples inhabiting what now encompasses the northern parts of Norway, Sweden, Finland and Russia. The geometric, folk-like patterns scattered across the set pieces and the traditional garb of layered dresses and warm items of clothing add to the story’s depth and authenticity.

“I really wanted to honor the Sámi culture, but also the inspiration that comes from Scandinavian culture,” Morales said. “It felt wrong for me not to acknowledge that’s where that story came from. Given all the elements of nature in this piece, which I think are really important, it’s magic.”

The magic of the season

SCT’s “The Snow Queen” will also use vibrant projections to further its storytelling. Including this technology will only help Morales and the team insulate viewers into the story. Like a snow globe, the design elements will be everywhere and all at once, growing the stage into a new world.

The word “magic” came up multiple times in my discussion with Morales, and it is perhaps the best word to describe this season as a whole. Her goal was to give viewers a place to experience it and to remember that hope is alive in those who foster and nurture it. Regardless of what you believe, what you celebrate, where you live, or who you are, theater is alive and well, beckoning you to experience the magic for yourself.

Know before you go

Getting there: Seattle Children’s Theatre, 201 Thomas St, Seattle, WA 98109
SCT’s “The Snow Queen” will have its first preview on November 27 and opening night on November 30. The production will run through January 5, 2025.
Tickets are $20-$50/ticket depending on the day
This production includes themes of grief and the use of a knife as a form of protection. For more information and a detailed synopsis, please visit SCT’s Content Guidance page.
The Access performance for SCT’s The Snow Queen is Sunday, December 22, 2024 at 2:30pm.
The Masked performance for SCT’s The Snow Queen is Friday, December 13, 2024 at 6:30pm. This season, Seattle Children’s Theatre is proud to introduce Masked performances as part of our access offerings. Complimentary adult and child-sized masks will be available at the theatre and all staff will be masked as well.
The ASL Interpreted performance for SCT’s The Snow Queen is Saturday, December 14, 2024 at 1:00pm.
Audio Description for SCT’s The Snow Queen is available during our Access performance, Sunday, December 22, at 2:30pm.
The Sensory Sensitive performance for SCT’s The Snow Queen is Sunday, January 5, 2025 at 11:00am.
Show experiences include the following: January 3, 2025 – Nordic Dancing with Barneleikarringen (live performance at 1:45pm before the 2:30pm show) and January 4, 2025 – Nordic Dancing with Barneleikarringen (live performance at 12:15pm before the 1:00pm show, and at 3:45pm before the 4:30pm show)