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Grades 5 – 8 Thursdays, February 25 – March 24 $125 | 4:30 – 6 PM Middle school students will delve into the wild and wacky

BIG KIDS world of the bard. This class will culminate in a performance celebrating the arrival of William Shakespeare’s first folio at the Portland Public Library.

Ages 4-10 Saturday Mornings, 10:30 AM to Noon January 9th- April 16th $15 each for one child with an adult / $7 per additional person

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Theater for Kids is made possible by the generous support and vision of Susie Konkel. PLAY ME A STORY PLAY PORTLANDSTAGE Register: 774.1043 x104 where great theater lives www.portlandstage.org by Hans Christian Andersen Dec. 5–Dec. 24 for performance dates and times for both evening shows and student matinees, visit www.portlandstage.org.

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The Robert and Dorothy Golfberg Charitable Founda- tion & George and Cheryl Higgins & Funded in part by a grant from: The Maine Arts Com- mission, and independent state agency supported by the National Endowment for the Arts Table of Contents Portland Stage Produces The Snow Queen About the Play 8 Daniel Noel, A Snow Queen Veteran 9 Hans Christian Andersen 10 Interview with Assistant Director 12 Production History 14 Emily Dickinson 15

The World of The Snow Queen The Hero’s Journey 18 Rites of Passage 20 Fairy Tale Origins 22 Mother, Maiden, Crone; Fairy Tale Women 24 From Aslan to Peter Rabbit; Animals in Children’s Literature 25 Activites Page 27

The Snow Queen in the Classroom Snow Queen Recipes 28 Instant Lessons & Glossary 29

Your 2014/2015 PlayNotes Editorial Staff

Hannah Cordes Grace Weiner Education & Theater for Kids Intern Education & Theater for Kids Intern

Benn May Connor Pate Directing & Dramaturgy Intern Directing & Dramaturgy Intern

Mariele Fluegeman Kerry Randazzo Directing & Dramaturgy Intern General Adminstration Intern “I am convinced that most people do not grow up...I think what we do is mostly grow old. We carry accumulation of years in our bodies, and on our faces, but generally our real selves, the children inside, are innocent and shy as magnolias.”

-Maya Angelou

PlayNotes 5 Thoughts From...

My high school literature class was watching the 2008 mini-series of Tess of the D’Urbervilles. After the parson denied Tess’ illegitimate baby a Christian burial, Tess says, “Then I do not like you and I do not like your God and I will not set foot in your church again.” My teacher paused the film, looked us all in the eye, and told us that we are allowed to reject things that go against our moral standards, we don’t have to put up with voices in our lives if they are harmful. This was a huge moment for me. I grew up in a conservative Catholic setting, which became difficult when I realized I was queer. I was devout, so it was difficult for me to see myself in any positive light compared to what I read in school and heard on Sundays. Hearing Tess and my teacher say that to me gave me the courage to realize that I was only hurting myself in defining myself according to theseCatholic teachings and that I needed to separate myself from them until I better knew who I was.

On October 2nd, 2011, a frigid and rainy morning, I ran 13.1 miles. It was the annual Maine Half Marathon, a race that I had spent months preparing for. What it took to get me to the starting line on that day required much more than enduring legs. Struggling with obesity for the better part of my childhood, I had been teased and excluded by almost everyone I knew, even my friends. When the bullying was at its worst, I would frequently go whole days without speaking for fear of being mocked and ridiculed. When I was 14, I decided to make a change, losing 50 pounds just in the year leading up to the race. I did not do this because I wanted to prove anyone wrong, I did it because I needed to prove to myself that my life was in my own control. As I bounded across the finish line, I felt cold, soaked, and exhausted but despite my trembling legs, I walked away with deeper understanding of myself. As I upturned my head to welcome fresh air into my lungs, I could see the sun behind the clouds.

Part of me hopes I never grow up fully because I love the whimsy that childhood supplies. However, one moment when I really felt the reality of being my own person was when I became a mitzvah clown for my Bat Mitzvah project. Before your Bat Mitzvah, you do a year of public service, so I chose to go to a seminar and became a mitzvah clown- a clown that visits nursing homes, children’s hospitals, and does birthday parties for free. I chose it because I thought it would be the most fun! But I quickly realized how much happiness I could bring to people. I loved that feeling and took it on as a responsibility. To always try and brighten the lives of others. This turning point is very memorable to me and is something I still try to do everyday in my teaching.

6 The Snow Queen The Editorial Staff

To choose to be yourself when you know others will not agree is one of the hardest things I can a person can do. At the age of 13, I knew I was different, by the age of 14, I was ready to talk about it. I started telling my friends first, and then as is the nature of small towns, word got out, and soon the entire school knew. That lead to my brother telling my mother, and me being completely exposed. I wish I could say I was met with cheers and joy but instead I was met with hatred, violence, and ignorance. My life was threatened daily, and I was discouraged from being myself by both students and teachers. I cannot say that it was easy, but I can say it was worth it. I have been out for over a decade now. I know who I am, and I do not apologize for choosing to be open about it. I have been fortunate enough that inspite of ignorance and its lovely companions, I have had caring and wonderful people in my life. I have had people lift me up over the last 10 years to become the man I am today. I can promise you, it takes time, but it really does get better.

On the bank of the Ohio River, in downtown Louisville, we sat and toasted him. In 2013, my younger brother, the baby of the family graduated high school. No longer that of a pink nosed cherub, his face was slightly bearded and lean. Four years earlier, his face was round and prone to blushing when asked who he was dating. At his graduation, the baby of the family had a girlfriend, one he unabashedly introduced to every guest present. On the bank of the Ohio River, in downtown Louisville, one of the last and most important vestiges of my youth peeled away. The inexorable march of time had slowly dissolved the pedestal reserved for the older, infallible brother. His first step into adulthood was in many ways mine. College was on the horizon for him, he would soon reside in the same world as me and my occupation as protector and translator would no longer be necessary. The river carried away the brother of my childhood and thrust me into the real world.

From the age of 7, my dream was to be a professional musical theatre actress. When I was 19 years old, the possibility of accomplishing that dream vanished as the result of a series of vocal surgeries. I believe that people face many of rites of passages and coming-of-age moments throughout their lives, but the moment I learned that my dream could never be a reality was when I was forced to mature at an accelerated rate. During my recovery, I focused on my second love: teaching. I began to realize that the joy I received from encouraging young people to be creative thinkers and artists was even more fulfilling than performing myself. Growing up is about taking responsibility for your own sense of fulfillment, no matter the circumstances. Coming-of-age moments are often made up of a choice: the choice between despair and happiness. Personally, I am proud to say I picked the latter.

PlayNotes 7 About the Play

Hans Christian Andersen believed that fairy tales are not just for children. Fairy tales are often geared towards younger audiences, but successful fairy tales resonate with the imaginative powers of all age groups and all time periods. The Snow Queen is such a fairy tale: a well-loved story that has entertained and captured the hearts of generations. The Snow Queen is considered one of Hans Christian Andersen’s greatest literary achievements. Andersen’s fairy tale has inspired popular works such as C.S. Lewis’ The Lion, The Witch, and The Wardrobe, Disney’s Frozen, and characters in ABC’s Once Upon A Time.

The Snow Queen explores the challenging transition from childhood to adulthood through a young girl’s heroic journey. Young Kai— the victim of an enchanted mirror—is captured by the Snow Queen, who fills his time with a puzzle that promises great rewards. When Kai goes missing, his friend Gerda embarks on a search to find him. Along the way, she encounters creatures, people, and magic that help her in her journey. Gerda’s experiences allow her to discover her own strengths and beliefs. She is then able to return home from her journey with knowledge, confidence, and valuable life experience.

In Kai and Gerda, Andersen explores the fine line between adolescence and adulthood, and the difficulties we encounter when accepting the responsibility of solving our own problems. What Gerda and Kai in The Snow Queen, is the best way to sort out our difficulties: with the head or with illustrated by Vladislav Yerko. the heart? Kai’s rigid desire for absolute knowledge contrasts with Gerda’s acceptance of the world the way it is. Towards the end of her journey, Gerda encounters a magical crone who assures her that she has all the power she needs to save Kai. The Crone explains, “I have nothing to offer. She already possesses a power far stronger than any spell I might give her. You told me her story, so long and so twisted of flowers and robber queens, princes and crows. Everyone she encountered felt compelled to assist her. Why?...They all had to, for they all could see that her passion was true. She has the strength of her heart, her love guides her completely. She cannot receive any power from me greater than she now has” Gerda’s unique heroism, love, and unwavering spirit suggest that following your heart will lead you where you need to go.

The Snow Queen is indeed a story about growing up, and—unlike the case in many coming-of-age stories— becoming an adult doesn’t mean leaving childhood behind. Gerda’s experiences add to her understanding of the world and give her new wisdom, but these experiences do not entirely replace her childlike innocence and outlook. It is Gerda’s pure heart and the childhood bond between Gerda and Kai that bring the two children home.

“Life itself is the most wonderful fairy tale.”

-Hans Christian Andersen

8 The Snow Queen Daniel Noel, A Snow Queen Veteran

Connor Pate: How long have you been with Portland Stage?

Daniel Noel: I came to Portland Stage in 1998. At that point I had been in Portland for a little while, but I hadn’t auditioned for this theatre. I really liked what they were doing, what Anita and that whole crew were doing when they first got here. I went in to audition specifically for From Away and Little Festivals. I did that for the first two years and then she asked me to be in Christmas Carol. I did A Christmas Carol for twelve years, eleven years, eleven or twelve years. Then I did Snow Queen when we started doing that show in 2011.

CP: Did you immediately get involved with the showlike you were with A Christmas Carol?

DN: Yeah, yeah. Anita asked me to do it. I play the Narrator and I’m very fortunate to have a big voice. I sort of fit right into the, “Let me tell you a story,” kind of thing.

CP: Aside from new actors, have the holiday shows always had a consistent theatrical vision?

DN: Oh, yeah, totally. Snow Queen this year - the first two years I would say were very similar. It depends on who is playing the Queen, who’s playing the Snow Queen, the Robber Girl, and the Crow. And we have a new person playing the Girl this year. I would say with growth the show has changed. It will be interesting to see what happens.

CP: Would you say anything is different about this year’s Snow Queen?

DN: Well, there is certainly a lot more music. It’s got a much better flow to it. Things seem to transition better. I think it’s going to be a bolder statement this year.

CP: Would you say there’s more of an opportunity to experiment since it’s the third year?

DN: Yeah. You’ve got the room now. I think everyone is getting a chance to grow in a completely different way. If you have a better skeleton, it’s easier to put the muscles on there.

CP: For the new music, was it recently composed?

DN: Yeah, Hans has been working on it the past couple of years. There’s a real strength to the words. It’s so funny how her (Anita’s) poetry works with Hans Christian Andersen’s text. Watching it now, I think there are moments that are quite chilling.

CP: What’s one of the most striking or profound moments while working on the holiday shows for Portland Stage?

DN: It happens repeatedly to me every single year. In Scrooge’s redemption scene… there’s no specific line. It’s just the story… it moves me to hear those words read out loud. It makes me very aware of how fortunate I am to do this as a living.

PlayNotes 9 About Hans Christian Andersen Hans Christian Andersen was born in Odense, Denmark, in 1805, to Hans and Anne Marie Andersen. Andersen himself was a classic “ugly duckling:” he was awkward and gawky, and his head was always elsewhere. Other children in Odense would often make fun of him. Growing up in Odense was, however, crucial to his development as a writer. Odense, the fourth largest town in Denmark, was still rooted in folk culture, and Andersen was exposed to folk tales and storytelling as a child. As a regional center, Odense also had a theater, which many scholars believe was a major factor in his success. Andersen first attended a play in 1812, and he became passionate about the stage. He began writing plays, singing, dancing, and acting.

When Andersen was 14, he left home for Copenhagen, the biggest city in Denmark, to make it in the theater. With little money and no help, Andersen lived in slum lodgings and nearly starved and froze to death. He took to knocking on the doors of well-known townspeople, thrusting himself into their homes and presenting himself as an aspiring actor. J. M. Thiele, a writer and editor, was one of the notables Andersen visited. He recalls, “I was surprised to see a lanky boy, of a most extraordinary appearance, standing in the doorway, making a deep theatrical bow to the floor...He began his high-flown speech with these words: ‘May I have the honor of expressing my feelings for the stage in a poem written by myself?’” Eventually, Andersen knocked on the door of Giuseppe Siboni, the choirmaster and conductor of the Royal Theater, who invited him in and was impressed by his singing voice. Siboni offered him free singing lessons, which Andersen Andersen’s childhood home in Odense, Denmark. attended until his voice changed only a few months later.

Andersen was distraught, but he didn’t give up. In 1822, he submitted several plays to the Royal Theatre, but they were rejected, due to his lousy grammar and spelling. This nevertheless allowed Jonas Collin, a director of the Royal Theatre, to notice him and take an interest in his work. Collin worked with the other directors of the theater to pay for Andersen to be educated at a school in Slalgelse. Andersen entered the school, but because he had missed out on so much education, the other members of his class were significantly younger than him – he was 17 and his classmates were 11 and 12. He felt awkward and inferior, and was teased by his classmates.

In 1827, while Andersen was still in school, he wrote a poem called “The Dying Child.” It expressed a child’s point of view as he died, and when published, it became immensely popular. This was the start of Andersen’s literary success. Once he had started, it seemed as though he could not stop. Andersen’s first published book, Improvisatoren (The Improvisatore in English), was released in 1835. Andersen began writing his fairy tales while the novel was being printed. He wrote in a letter, “I’m beginning to write some fairy tales for children. I want to win the next generation, you see.”

Andersen published his first book of fairy tales, called Eventyr, fortalte for Børn (Tales Told for Children), in 1835. It included the stories “The Tinderbox,” “Little Claus and Big Claus,” “The Princess and the Pea,” and “Little Ida’s Flowers.” Initially, critics responded negatively to his fairy tale collections: they felt the tales were too conversational. 10 The Snow Queen About (Continued) Now well known in his home country of Denmark, and soon in Germany and England as well, Andersen’s fairy tales had done what his novels and plays could not: they had made him a celebrity. Andersen had a great love of travel, and once he had the financial means to do it, he traveled all over Europe and even to North Africa to visit his fans. He began writing travelogues wherein he documented his trips.

Perhaps due to his awkward demeanor and difficulty interacting with other people, Andersen was also very unlucky in love; he fell in love several times with several people (he is widely believed to have been bisexual), but never married or had anything resembling a romantic partner—in fact, almost as a rule, he fell in love with those with whom marriage was impossible. The Danish choreographer Kim Brandstrup, who choreographed a piece on Andersen’s life entitled “The Anatomy of a Storyteller,” found Andersen’s adult life and career to be far less charmed than it is often portrayed. She says of Andersen: “Andersen once wrote, ‘I am like water,’ and that expressed for me the way he was always receding from a situation or a person. It was part of his paradox - he was a social climber with a desire to succeed and to be loved but he courted rejection. He fell in love with the wrong people. He was dying to be a dancer but couldn’t dance. He wanted to write these epic plays for the court theatre that hopelessly failed.”

In the early 1870s, Andersen began suffering from liver cancer and published his last tales in 1872. By now, he had long since A collection of stories published in 1893

dropped the “for children” part of the title of his collections of tales. His later stories, like “The Ice Maiden” (1861), “The Psyche” (1861), and “Aunty Toothache” (1872) were decidedly darker. When he became too ill to write anymore, he took to creating paper cuttings, which were like large, ornate, intricate snowflakes. When he turned 70, it was obvious that this would be his last birthday, so it was celebrated both nationally and internationally. The complimentary tributes thrilled him, and he died a happy, recognized man on August 4, 1875. A far-reaching figure in fairy tale and literary history, Andersen gave us concepts like “The Ugly Duckling,” “The Emperor’s New Clothes,” and “The Little Mermaid.”

An early printed illustration of “The Little Mermaid”

PlayNotes 11 Putting it Together, Interview With Kerry Randazzo, The Assistant Director

Kerry Randazzo, Assistant Director of The Snow Queen, is currently the General Administration Intern at Portland Stage. Kerry has worked with Portland Stage in many capacities throughout the past few years, including an internship with The Culture Club and performing in The Little Festival of the Unexpected. Hannah Cordes of PlayNotes sat down with Kerry to talk about his experience working on The Snow Queen.

Hannah Cordes: What does an Assistant Director do?

Kerry Randazzo: An Assistant Director basically does anything that the Director cannot do his or herself. So, personally, it involves filling in for the ensemble when they are not there, following along with the script, and picking up on any discrepancies during the rehearsal process.

HC: What do you enjoy most about being an Assistant Director?

KR: I enjoy being this closely involved in the process of creating the play, and having real input in the way a scene is constructed, or the blocking, or the interpretation of a line. It feels very empowering to be able to help out on that level.

HC: What is it like working with adults and young people in one cast?

KR: The energy and enthusiasm that the children bring to the performance is really special, especially since they are from the local community. I think it is really cool for them to get to be a part of this process, and I see the children looking up to the adults. A lot of these kids are aspiring actors and performers and it’s cool for them to get to work with professionals because they can see where they might be headed in a few years.

Kai with some of the ensemble kids in the 2013 production of The Snow Queen

12 The Snow Queen HC: What is your favorite part of the rehearsal process?

KR: Getting to know the actors and all of their different personalities and the way that they play off of each other. They are all astounding and they complement each other very well, so it creates a nice, welcoming atmosphere; And I think that audiences will pick up on that.

HC: Why do you think The Snow Queen is an important story to tell?

KR: Because, even though it is a story that is heavily rooted in tradition, I think it is also very nontraditional as far as these old stories go, because you see a female hero and her journey. It is not the typical story of a male hero. It instead tells the story of a strong female figure who goes on this journey and finds herself. And on her way, she teaches a lot of other people about love and what it really is to care about someone. And I think that that is a really beautiful thing. You see her grow up throughout the play, and coming-of-age tales really speak to a lot of people.

HC: Who is your favorite character in the play and why?

KR: My favorite character is The Inventor because his story sets things in motion. In our version, he is an inventor, but in a lot of other versions, he has been a sprite or a demon, etc. But it is that archetype of the trickster that is really enjoyable and fascinating to me.

HC: What is your favorite winter/holiday story?

KR: A Charlie Brown Christmas, hands down.

HC: What about Portland Stage made you want to come back for this year’s season?

KR: Because it is such a community-oriented company and the work that they produce seeks to challenge people’s perspectives on what they already believe and The Inventor in the 2013 what they are already comfortable with, which I think Production should be one of the main goals of good theater. Portland Stage time and time again has done that for me, and for a lot of other people as well.

HC: The PlayNotes editors heard a rumor that you will be making a guest appearance in the performance, are the rumors true?

KR: I can neither say “Yay” or “NAYYY” at this point in time. But if you keep your eyes peeled, you might see me trotting along through a couple of scenes…

“His little tree that no one had wanted, and he could hardly believe his eyes. His friends’ efforts had transformed it into something truly special.”

From “A Charlie Brown Christmas”

PlayNotes 13 Production History

The Snow Queen, by Hans Christian Andersen, published December 21st, 1844

The 1890s saw some of the earliest staged versions: two operettas written by Edvard Grieg and M.C. Gillington.

A science fiction novel by Joan D. Vinge titled The Snow Queen, very different from the original, was publisehd in 1980.

Many film versions exist from all across the globe.

• 1957- Soviet Union- Animated

• 1986 - Finnish- Live Action The Snow Queen from the 1957 Russian Film • 1995 - British - Animated - Helen Mirren voiced the Snow Queen Kristen Bell the voice of Anna in Frozen • 2002 - American - Live Action - Bridget Fonda played the Snow Queen

• 2005 - British- Live Action TV- Movie - Patrick Stewart was the voice of the Raven

• 2013 - American - Animated - Frozen - loosely based on the original story

Published in 1998, Vladislav Yerko’s illustrations—inspiration for the set of the Portland Stage production—were lauded as some of the most rich, detailed, and complementary to the tone of the story ever drawn.

In the past few decades there have been at least ten plays, five musicals, three ballets, two operas, and one dance theater adaptation of the story.

Helen Mirren voiced the Snow Queen in the 1995 version of the story Portland Stage Company’s 2013 Production of The Snow Queen

14 The Snow Queen Emily Dickinson

“Hope” is the thing with feathers - That perches in the soul - And sings the tune without the words - And never stops - at all -

And sweetest - in the Gale - is heard - And sore must be the storm - That could abash the little Bird Emily Dickinson is one of the most prolific poets That kept so many warm - in American History. She wrote more than 1800 poems in her lifetime. A few of those poems, I’ve heard it in the chillest shown here, serve as the basis for the lyrics in land - The Snow Queen. And on the strangest Sea - Yet - never - in Extremity, It asked a crumb - of me.

I never told the buried gold Upon the hill—that lies— I saw the sun—his plunder done Crouch low to guard his prize.

He stood as near Nobody knows this little As stood you here— Rose— A pace had been between— It might a pilgrim be Did but a snake bisect the brake Did I not take it from the ways My life had forfeit been. And lift it up to thee. Only a Bee will miss it— That was a wondrous booty— Only a Butterfly, I hope 'twas honest gained. Hastening from far journey— Those were the fairest ingots On its breast to lie— That ever kissed the spade! Only a Bird will wonder— Only a Breeze will sigh— Whether to keep the secret— Ah Little Rose—how easy Whether to reveal— For such as thee to die! Whether as I ponder Kidd will sudden sail—

Could a shrewd advise me We might e'en divide— Should a shrewd betray me— Atropos decide!

PlayNotes 15 Loyalty and devotion lead to bravery. Bravery leads to the spirit of self-sacrifice. The spirit of self-sacrifice creates trust in the power of love. -Morihei Ueshiba

16 The Snow Queen Winter Joke Wonderland

Q. What kind of ball doesn’t bounce? A. A snowball!

Q: What do you call a snowman in the summer? A: A puddle!

Q: What's black and white and red all over? A: Santa covered with chimney soot.

Q: What do you call a child who doesn't believe in Father Christmas? A: A rebel without a Claus.

Q: What did one snowman say to the other? A: “Do you smell carrot?”

Q: What’s the difference between an iceberg and a clothes brush? A: One crushes boats and the other brushes coats.

Q: What kind of math do Snowy Owls like? A: Owlgebra.

Q: When are your eyes not eyes? A: When the wind makes them water!

PlayNotes 17 The Hero's Journey Although the enchanted world of The Snow Queen is Hans Christian Andersen’s own creation, Gerda’s journey to save her playmate is part of a well-established literary genre: the bildungsroman. A German word combining “education” (bildung) and “novel” (roman), the term describes novels that center on the development of a protagonist who goes out into the world and reaches a new level of understanding through adventures. A familiar trope, the archetypal example of a child’s quest that ends in both new wisdom and a loss of innocence pervades literature.

Pursuits of self-discovery date back to early mythology in many cultures, but the history of the bildungsroman as a method to classify and understand literature is more recent. Christoph Martin Wieland’s Geschichte des Agathon (1766–67; History of Agathon) has been cited as the first novel to explore what we identify today as coming-of-age themes. However, the most influential early example of the genre is thought to be J. W. von Goethe’s Wilhelm Meisters Lehrjahre (1795–96; Wilhelm Meister’s Apprenticeship), the story of a young man’s rejection of bourgeois professions in an attempt to realize his true calling. Other famous examples include the adventures of a quirky orphan girl in Anne of Green Gables (1908) by L. M. Montgomery, J. D. Salinger’s The Catcher in the Rye (1951), about a prep school runaway, and Khaled Hosseini’s The Kite Runner (2003), which follows an Afghan boy’s journey to adulthood amidst national turmoil.

Yet this wide variety of stories is united by a striking similarity in their avenues to personal discovery. In his book The Hero with a Thousand Faces (1949), Joseph Campbell outlines 12 major phases of the traditional quest, which he argues are “the basic motif of the universal hero’s journey—leaving one condition and finding the source of life to bring you forth into a richer or mature condition.” A great number of folk tales, novels, and films fit his model perfectly—including The Snow Queen.

After opening the story by showing “the ordinary world,” Campbell argues that the second phase of the hero’s journey is the “call to adventure,” where something changes the conditions of the hero’s life, creating the need for a quest. In The Snow Queen, Gerda’s adventure becomes imperative once Kai disappears. In Star Wars: A New Hope (1977), the conditions first change when Luke Skywalker sees Princess Leia’s message asking for help. In some examples, however, the “call” may not initially seem like it will lead to great personal transformation, as in Herman Melville’s novel Moby-Dick (1851): “Whenever it is a damp, drizzly Lyra (Dakota Blue Richards) in the den of the armored bears in the November in my soul; whenever I find myself involuntarily 2007 film of The Golden Compass. pausing before coffin warehouses, and bringing up the rear of every funeral I meet . . . then, I account it high time to get to sea as soon as I can.” He departs on what could have been a simple voyage but instead is led into a vivid exploration of human nature.

Following Campbell’s theory, meaningful adventure becomes possible once the hero “crosses the threshold” and leaves the ordinary world. In The Snow Queen this is the moment when Gerda is carried away from her home by the river, after which she enters into a world filled with “tests, allies, and enemies” (the sixth phase). Be it through fortune, fate, or magic, the world presents challenges and opportunities for heroes to learn and prove their worth. There are many religious examples of how a series of smaller tests are given before a person can achieve their ultimate quest: the Gospels, for example, describe how Jesus encountered the devil three times in the desert before he emerged with his message. A story of the Buddha says that he encountered the Lord of Lust, the Lord of Death, and the Lord of Social Duty, and only after his resistance to all three did he achieve illumination.

Andersen’s fairy tale similarly explores the trope of triumph by means of inner strength: the river, the flowers, the birds, and the beasts all respond to Gerda’s “true heart” and cite this as their motivation to help her, and their support proves pivotal to her mission. Andersen’s emphasis on the power of love over logic—symbolized by the icy Snow Queen versus the innocent child—ties into a larger discussion of romantic-era values. Gerda’s journey is one of many bildungsroman

18 The Snow Queen quests where a magical world allows children to encounter challenges with deeper symbolic meanings. This tradition has been continued through later works like C. S. Lewis’s series The Chronicles of Narnia (1950–1956), where a magical journey leads to maturity incorporating Christian symbolism. Philip Pullman’s series His Dark Materials (1995–2000) is another example, responding to Lewis by developing the quest through a series of secular, as opposed to religious, goals. By granting a deeper significance to the challenges the hero faces, each of these stories suggest a certain set of values that are important for the transformation into adulthood.

Atticus and Scout from the 1962 film adaptation ofTo Kill a Mockingbird.

After the protagonist has proven his or her worth, the ultimate challenge of the quest still remains: achieving the goal they initially set out for, and returning home (the ninth and tenth phases, respectively). “You leave the world that you’re in,” Campbell says. “You come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem of either of staying with that [old consciousness], and letting the world drop off, or returning with that boon and trying to hold onto it as you move back into your social world again.” For example, in Homer’s The Odyssey, Odysseus faces challenges in his journey home to Ithaca. His journey home isn’t his literal return from Troy; instead Odysseus’ journey home becomes his attempt to adapt to the changes in his former home that have occurred in his absence. He must slay the suitors, and he must convince a skeptical Penelope that he is indeed her husband. It is the achievement of both reaching the goal and returning home that creates the true development of a hero, making the journey a story about personal growth, education, and maturity, not success.

The range of works that exemplify the Hero’s Journey make it clear that these stories of gaining wisdom need not concern only people of a certain age, from a certain society, or end a certain way. Rather, through their diversity they are able to speak to different identities and different circumstances of the individual’s struggle to understand their own nature. For example, Mark Twain’s The Adventures of Huckleberry Finn (1884) ends with Huck’s declaration, “I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me, and I can’t stand it.” In contrast, Harper Lee’s novel To Kill a Mockingbird (1960) closes with Scout’s description of her father, Atticus, sitting by his injured son Jem: “He would be in Jem’s room all night, and he would be there when Jem waked up in the morning.” Both these novels end with a final realization about each character’s place in the world: Huck is a young man who has realized the need for his own independence, while Scout realizes the importance and security of her place within her family.

The variety of results that a hero may discover from his or her journey demonstrates the importance of fairy tales like The Snow Queen: a child has a different perspective and relationship to the world than an adult. As Andersen wrote in The Snow Queen, “Let us begin, for when we reach the end we will know more than we do now.”

PlayNotes 19 Rites of Passage

Kerry Randazzo interviewed some Portland locals to ask some very important questions

How would you define a rite of passage?

Jordan, 21: A rite of passage is a moment in someones life when they must endure, suffer, and or struggle with an event or a series of events that changes them in a way such that they cannot return to the same life circumstances after the fact. Metaphorically it is the body of water one must swim across in order to get somewhere better. It is an obstacle one must get over in order to be allowedthe ability to do something better for themselves or for others.

Dean, 52: When you have to attend your first funeral, the first time you have to face the passing of someone you loved. You change because For many boys in Judaism a Bar Mitzvah you see the world differently. is a major right of passage Abbey, 17: A rite of passage is something that everyone has to go through. You do it when you're young and it is something that you feel signifies a time in your life when you are changing from one thing to another.

Evelyn, 17: A transition between one point in your life to the next.

Marianna, 48: Something that happens in a public setting that marks a change in a lifetime. A community event that happens with an individual when they hit a certain time of life.

Talk about a rite of passage that you have experienced.

Jordan, 21: The 12-year-old me was the first person to discover my stepbrothers death. I found him in our basement, noose around his neck, note on the floor, and a lifeless pale gaze of someone who is no longer among us. That summer day marked my passage In Latin communties a Quinceañera is an important ceremony from childhood to adulthood. I for girls turning 15 would describe the transition as a loss of my youthful ignorance, and the realization of how the world really is; the inevitability of death. It’s not to say that I lost all sense of optimism, but it's the shattering of the fragile glass vale of childhood that I perceived the world through that brought me into adulthood.

20 The Snow Queen Abbey, 17: When my parents got divorced. In all the years after that it made me feel more connected to my parents in an adult way because it was a kind of h e a v y subject for them to talk about with me.

Marianna, 48: Moving out of my parents’ house when I started college was a huge rite of passage for me. It was very concrete, significant step toward adulthood. Even though they were still responsible for me financially with my college tuition it marked a big change in adopting my own attitudes.

What marked your transition from childhood to adulthood?

Dean, 52: I don’t think that’s happened yet.

Evelyn, 17: When I was eight years old, I had a gerbil named Boots. He got sick and he had this little raw patch on his stomach. When we took him to the vet, he said that we had to give him these injections and rub ointment on him twice a day. My mom was too afraid to touch him, so I had to take care of him alone. From nursing him back to health, I learned a lot about what it means to be responsible for another life, even a small one. That was when I began to become an adult.

What does growing up mean to you?

Allan, 7: Getting a job.

How would you define a hero?

Dean, 52: Someone who sacrifices themselves for the betterment of others.

Allan, 7: Hercules.

Jordan, 21: A hero is someone who abandons all their sense of self preservation to benefit the well- being of another living entity.

Abbey, 17: A hero is someone that you can look up to, someone you can trust. They are someone you know will do the right thing and someone who you In Amish communities Rumspringa is the know you can follow in their footsteps. time when a youth can decide to explore the ouside world before joining the church Evelyn, 17: Anyone who can bring you out of suffering.

Marianna, 48: A hero is a person who is consistently kind and thinking of other people in spite of pressures to do differently. Somebody who will consistently and stalwartly hold on to their beliefs and be thinking of other people and taking other people’s perspectives no matter what.

Caring - about people, about things, about life - is an act of maturity. Tracy McMillan

PlayNotes 21 Fairy Tale Origins

Fairy tales have been told since the beginning of time. Many tales are meant to teach children a moral lesson. Often this is accompanied by graphic violence. Records show fairy tales as early as 600 B.C.E. The fairy tales as we know them have gotten a major update thanks mostly to Disney. As the stories travelled around the globe over time, many versions evolved of Cinderella, Snow White, Rapunzel, Rumpelstiltskin, Beauty and the Beast, The Little Mermaid, Sleeping Beauty, and countless others. Rapunzel (Originally Published 1790)

In the original version of Rapunzel, Gothel cuts off Rapunzel’s hair and banishes her to the wood. Later, she tricks the prince by using the hair, and when he discovers the truth, he leaps out of the window. He lands in a thorn bush and is blinded.

Snow White Cinderella (Originally published 1812) (Originally published 1634)

In the original version of the story, Cinderella’s wicked stepsisters lose Things don’t end well for the Evil a piece of their heel, and one of Queen in either version, but in the their toes, and later have their eyes original she is forced to dance in pecked out by birds. burning hot iron shoes until she dies.

22 The Snow Queen Mother, Maiden, Crone: Fairy Tale Women Goddess worship can be seen in cultures across the globe, often dating back to prehistory. The goddess is generally viewed not as a singular being, but as a triad: the maiden, the mother, and the crone or wise woman. These archetypes are a powerful presence in fairy tales and folklore, and almost every female character in such stories falls into one of these categories. Many different world religions, past and present, use the triple goddess in their mythologies. The Greek pantheon had many different combinations of goddesses portrayed as triple goddesses. One of the most notable goddesses portrayed this way is Hecate, the Crone. In some representations she makes up a third of the Mother Goddess with Hebe (Maiden) and Hera (Matron), and the Moon Goddess with Artemis (Maiden) and Selene (Mother). Not all triple goddesses strictly represent Maiden/Mother/Crone; some represent different parts of the life cycle. In Hinduism, the Devi Shakti (or Divine Mother) is sometimes represented by three entities: Parvati (the Creator), Durga (the Preserver), and Kali (the Destroyer). Still some other triple goddesses, like the Irish war goddess Morrígan, are more fluctuating in role division. All of these goddesses are extremely powerful and linked to essential forces, like life, creation, or destruction. These goddesses’ stories provide surprisingly empowering portrayals of women in largely patriarchal societies.

In original fairy tales, it is often the woman who seeks and saves: Gretel saves Hansel, Beauty becomes the Beast’s captive in her father’s stead. The maidens of fairy tales are active transformers as well as those whose transformations we witness most clearly; they have narrative agency. The idea of powerful women, however, was a threat to the sexist order of older societies, and a sense of danger frequently accompanies such female figures. Storytellers often compensated for this sensation by the creation of stunted, passive maidens, or embodied it in cruel, wicked older women. Maiden characters tend to be passive, adopting a “Someday, My Prince Will Come” attitude. The examples are numerous: Sleeping Beauty, trapped in endless slumber until her true love’s kiss; Cinderella, trapped in servitude until the intervention of a fairy godmother and Prince Charming; and Rapunzel, locked in a tower until her prince arrives. Snow White singing “Some Day my Prince Will Come”

Within their journeys, maidens are often pitted against older women. Hecate and the Snow Queen are both examples of the wise woman, a character that pervades fairy tale lore, and is frequently the maiden’s opponent. Wise women appear most often in one of three guises: royalty, witches or crones, and, of course, the infamous stepmothers. Whether enchantress or queen, all of these women favor logic and order over warmth and kindness. Much like the goddesses that inspired their creation, fairy tale crones seek retribution for perceived wrongs and ancient slights. They strike bargains, make deals, and use their wiles and wits to achieve the end they desire. Whether or not they achieve those ends—or have their logical quests foiled by the love of another—is another matter entirely.

Meryl Streep as The Witch in Into the Woods

PlayNotes 23 From Aslan to Peter Rabbit Animals in Children's Books

From Ba the reindeer in The Snow Queen to Aslan in The Lion, the Witch, and the Wardrobe, talking animals have long played a part in storytelling. This application of human characteristics to animals or natural elements is known as anthropomorphism. The concept is found throughout literary genres, whether the literature is targeted at children or adults.

Animals in literature sometimes act fully human, while others retain wild elements that separate them as a species. Beatrix Potter’s charming characters like Peter Rabbit and Mrs. Tiggy-Winkle the hedgehog eat at dining room tables and do laundry. The fox in The Little Prince, however, resists becoming friends with the Little Prince because he doesn’t want to be tamed. Aslan from The Lion, The Witch and The There are generally three distinct roles animals adopt Wardrobe in a story: moral guides and role models, emissaries and messengers between the human and mystical realms, and as ways to create empathy for difficult human experiences. Storytellers have used animals to illustrate moral codes of conduct for hundreds of years. A famous example is Aesop’s fables, a collection of stories from c. 600 B.C.E. often portraying animals in moral dilemmas. By using something other than a human to set an example, Aesop made certain human traits more accessible to the reader.

As author Andrew O’Hagan describes, in other children’s stories animals can function as “intermediaries between the natural and supernatural worlds.” This is the main use of anthropomorphism in The Snow Queen. The animals and natural forces are able to guide Gerda on her journey as translators. Elements of the natural world often occupy the space between humans’ reality and the natural world. In The Snow Queen this is emphasized by the purity of the animals and natural forces that aid Gerda.

Animals in children’s literature also act as voices for the voiceless and encourage sympathy for the less fortunate. Black Beauty by Anna Sewell is a children’s book that chronicles great trials and tragedies in the life of a horse, a character whose fate was dictated by outside forces in Victorian England, mirroring some of the cruelties faced by many humans at the same time. When animals in these stories find their voices, they provide a voice for those who were (and are) silenced in reality.

While the adult audience member may see the anthropomorphic component of The Snow Queen as fantastical, authors like Hans Christian Andersen know that this tool will not only be accepted by a young audience, but will be a way into the story for them. The whimsicality of talking animals, helpful roses, and living snow creates a world in which children can take ownership of their voice. Mrs. Tiggy- Winkle from The Tales of Beatrix Potter

24 The Snow Queen Our Friend the Reindeer The reindeer has figured prominently in myth and legend, appearing everywhere from Norse mythology to popular children’s stories and Santa’s sleigh. They are most commonly found in areas of Scandinavia and Russia, making their inclusion in Andersen’s The Snow Queen much more accurate than the many stories that place them at the North Pole with Santa Claus. The best- known reindeer belong to Father Christmas, and were popularized with the publication of A Visit from St. Ni- choloas better known as “Twas The Night Before Christ- mas.” Originally published anonymously in 1823, this poem gave names to eight original reindeer. In 1939, the original eight were joined by the ninth and arguably “most famous reindeer of all,” Rudolph.

Sledding Through the Ages Sledding is a popular wintertime activity that many cultures enjoy around the world. The first description of sledding comes from the second century C.E. Competition came much later with the first recorded sled race occurring in the Alps, in Davos, Switzerland, in 1883. The sport of sledding can be found around the world, and not just in winter weather. In the tropical climes of Hawaii, the practice of “He’e holu,” or lava sledding, happens year round.

Mirror, Mirror

Throughout the ages and around the world, mirrors have been a subject of fascination and fantasy, but rarely are they themselves evil or good. More often, magic mirrors in stories have the power to show the truth of things, whether for good or ill. Villains often use their mirrors to spy on heroes—“Snow White,” of course, is one famous example. The power of a mirror to reveal the truth can also be used for good. In the South American “Susu and the Magic Mirror,” the witch who is posing as a stepmother is revealed using a magic mirror that shows her true nature. In American author Nathaniel Hawthorne’s story “Feathertop,” a scarecrow has been animated and thinks he’s a man, and only realizes the truth after gazing into a mirror. Mirrors can also act as tools. The Greek hero Perseus uses a mirrored shield to approach Medusa, the sight of whom turns people to stone, and mirrors in some Turkish stories can tell the future or command genies.

PlayNotes 25 Unscramble Draw Your Own Ice The Jumbled Words Castle

SNWO SRSOE ______

EQENU ACIGM ______

SELGIH MORRIR ______

TERENYIT RRIENEED ______

Snow Queen Word Search Help Gerda Find Kai

Y J P E Y O O J B J C A M F Z O Y Y B T H F D A C H U U L A L F D D T E M F W R C X Q O U E R S L K H R T T O R N K W E P H N R S F F N O W M A A E R P L O W W I C D I S N W X R W L G K X E Z I V Y T H E D S D A G R L O M G M S Q Y S E K N P N M A I W A Y B N A A I U U L T M R H V M L K D O S S F Q N O R I C U E D R W S W B X S F O K E J H F E P S Q G V J S R V O W L P G V T F F I F U N H G I E L S I A K N U D T H C L H M H S I I J R O S E S E A

CROW ETERNITY FLOWERS GERDA KAI KISS MAGIC MIRROR QUEEN ROSES SLEIGH SNOW

26 The Snow Queen Snow Queen Recipes

Ba’s Bark Baked Snowballs A treat loved by Reindeer the world over. A sweet fluffy treat. Gluten Free! Prep: 25 minutes. Cook: 2 minutes. Ready in Prep: 10 minutes. Cook: 40 minutes. Ready in: 50 27 minutes. minutes. Ingredients: Ingredients: • 12 vanilla or chocolate wafer cookies, or six • 1 (6 ounce) box candy canes 1/2-inch-thick slices of your favorite cake • 2 (11 ounce) packages white chocolate chips • 6 scoops of your favorite ice cream • Green food coloring • 3 egg whites at room temperature • 1 cup semi-sweet chocolate chips • 1/4 teaspoon cream of tartar • 1/4 cup sugar Supplies: • 1/2 teaspoon vanilla extract • Cutting board or other flat surface • Chocolate syrup, sprinkles, and • Sharp knife Maraschino cherries. • Hammer • 9 x 13 inch baking dish Supplies: • Wax paper • Six 3-inch ramekins • Large Ziplock or plastic bag • Cookie Sheet • Double boiler or microwave • Hammer • Medium-size bowl Directions: • Electric Beater 1: Remove wrappers from candy canes and coarse- ly chop, or put them in a bag and hit them with Directions: 1: Break each cookie or slice of cake into several small a hammer. pieces and divide them evenly among six 3-inch ra- mekins, pressing them into the bottom of each. Fill 2: Melt white chocolate in a double boiler or micro- each ramekin with ice cream. Place the ramekins on wave. a cookie sheet in the freezer while you prepare the snow (meringue). 3: Add enough green food coloring to the melted white chocolate to reach a pale green color. 2: Heat the oven to 500º. Place the egg whites in a me- dium-size bowl and whip them with an electric beater 4: Stir in 2/3 of the chopped candy canes. set at medium-high speed until they resemble soap bubbles. Add the cream of tartar and continue beating 5: Pour into a 9 x 13 inch dish that has been lined until soft peaks form (now it will look like shaving with wax paper sprayed with a little Pam. Refriger- cream). While you continue beating, add the sugar ate until set. 1 tablespoon at a time and then the vanilla extract. Continue beating until shiny, stiff peaks form, about 6: Melt the semi-sweet chocolate and spread over 2 minutes. Now you have your snow! the white chocolate. 3: Remove the ramekins from the freezer and spread 7: Sprinkle on the remaining candy canes, press- the snow meringue over the top of each with a spatu- ing gently into the chocolate. Refrigerate until set. la, taking care to completely cover the ice cream. Bake Break into pieces to eat! the snowballs on the cookie sheet until the tops are golden brown, about 1 to 3 minutes, watching care- fully. Garnish the snowballs with chocolate syrup, sprinkles, and cherries, and serve. Makes 6.

PlayNotes 27 Instant Lessons

Getting Started: Pre-Show Activities

1. Our PlayNotes editors wrote about a coming-of-age moment in their lives. Can you think of a time when you felt really independent and proud of yourself? Different people feel independent or powerful in different kinds of settings. Where do you feel most confident? Your house, the classroom, with your friends, when you are alone?

2. Many people help Gerda throughout her journey. Can you think of a person who has helped you conquer a fear or achieve a goal? What about this person empowered you?

3. The Snow Queen is a fairy tale. What do you think of when you think of a fairy tale? What do you expect to see in the performance?

4. Friendship is very important in The Snow Queen. How do you define friendship? What qualities do you think are important in a friend?

Making Connections: Post-Show Activities

1. Hans Indigo-Spencer, the composer for The Snow Queen, underscores much of the play. What role do you think music plays in the telling of Gerda’s story? Did the music heighten your experience as an audience member?

2. How does Gerda change throughout the play? Can you think of any characters in other books, movies, video games, plays, etc. who experience similar transformations? What makes these stories interesting or worthwhile?

3. Gerda constantly loses her shoes and must carry on barefoot. What do you think this means? If you were going on a journey, what is the one thing you would want with you? Now imagine that you lost this item. How would this change your experience? How would this challenge you?

4. In the Pre-Show Activities, we asked about fairy tales. Did you see what you expected in this fairy tale? Was there anything that surprised you? Was there anything that felt out of place? If you were to rewrite the story, is there anything you would change?

5. If you were to write a play about a hero’s journey, who would the hero in your story? What problem would your hero need to solve? What obstacles would your hero face? What kinds of characters would your hero meet along the way?

28 The Snow Queen Glossary Alchemy: The ancient and medieval pursuit and science of attempting to transform baser metals such as lead or tin into gold. Crone: A very old, withered woman; often a stock character in fairy tales, she can be either evil or good. Daisy: A flower with white petals and a yellow center. They are a symbol of innocence, gentleness, and loyalty. Esplanade: A large, leveled, open piece of land, usually intended for public use. Finnmark: A northeastern region of Norway, above the Arctic Circle. Holly: Either a tree or a bush that is commonly associated with Christmas. Holly often has pea-sized red berries and glossy, dark green leaves with several points. Despite the plant’s association with Christmastime and winter, younger holly plants struggle to survive in the winter months. Lapland: Also known as the cultural region of Sápmi, Lapland forms the northernmost portion of the Scandinavian peninsula, which is made up of Finland, Norway, Sweden, and Russia. Morning Glory: A blue flower that blooms in the morning and dies at night. Due to their short lifespan, morning glories often represent impermanence and mortality. Northern lights: The northern lights, also called the aurora borealis, are a natural phenomenon, caused by gas from the sun meeting the earth’s invisible magnetic field. The meeting of the gas with the magnetic field causes bright, sparkling colors to appear in the night sky. The northern lights are seen more often in countries closest to the North Pole, and are usually spotted on cold, clear nights. Snip snap snout: A different way of saying “The End” commonly found in early fairy tales, this phrase lets the listener or reader of a fairy tale know the story is over. It is probably Norse in origin. In the original Danish, Andersen wrote “Schnipp- schnapp-schnurre-basselurre.” Spitsbergen: Part of a cluster of Norwegian islands known as Svalbard, Spitsbergen is roughly the size of Ireland. The entire cluster of islands is 60% covered in glaciers. Spitsbergen has a population of about 2,500 people (which is about the same as the number of polar bears that live there). The island is so far north that the sun disappears for four months in the winter. Steppe: A cold, temperate grassland that receives just enough rainfall not to be a desert, but not enough rain to be a forest. Steppes are often uninhabited because there is little there but grass, and they become very cold in the winter. Tiger Lily: A bright orange flower that symbolizes pride and wealth. Tundra: Coming from the Finnish word tunturi, meaning treeless plain, the tundra is known for its cold temperatures and lack of diverse plant life.

PlayNotes 29 Other Works by Hans Christian Andersen

Fairy Tales: The Princess and the Pea (1835) The Tinderbox (1835) Thumbelina (1835) The Emperor’s New Clothes (1837) The Little Mermaid (1837) The Steadfast Tin Soldier (1838) The Wild Swans (1838) The Flying Trunk (1839) Ole Shut-Eye (1841) The Nightingale (1843) The Ugly Duckling (1843) The Snow Queen (1844) The Fir Tree (1844) The Little Match Girl (1845) The Red Shoes (1845) The Bell (1845) The Shadow (1847) The Story of a Mother (1847) The Phoenix (1850) The Goblin and the Grocer (1852) Heartache (1852) The Girl Who Trod on the Loaf (1859) The Snow Man (1861) The Ice Maiden (1861) The Psyche (1861) The Most Astonishing Thing (1870) Auntie Toothache (1872)

Novels: The Improvisatore (1835) O. T. (1836) Only a Fiddler (1837) The Two Baronesses (1848) To Be Or Not To Be (1857) Lucky Peer (1870)

Autobiographies: The True Story of my Life (1847) The Fairy Tale of My Life (1855, 1871) Autobiography (1926; posthumous)

30 The Snow Queen EDUCATION IN THEATER FOR KIDS Dive into these classic stories for 3 exciting days on your school breaks! Our theater camps include immersion in all aspects of the theater, and always culminate in a shared performance for friends and family at the end of the week!

Grades 3 – 5 | $185 February 16, 17 & 18 You can fly! Come to Portland Stage during your February break—bring your shadow and we’ll find Tinker Bell, the Lost Boys, and Captain Hook. This wacky and fun three day camp will allow you to experience all the things that are so awesome about this story by J.M. Barrie.

Grades 6 – 9 | $185 February 16, 17 & 18 Experience the magic of The Little Prince - a story that speaks to the castaway in all of us, challenging our perspective, and bringing us to the heart of what truly matters. We offer immersion in all aspects of the theater, and always culminate in a shared performance for friends and family at the end of

VACATION CAMPS VACATION the week!

Grades 3 – 5 | $185 April 19, 20 & 21 Come to Portland Stage during your April break. During this fantastical and magical three day camp you will get to explore the wonder of Roald Dahl’s wacky tales B.F.G., Charlie and the Chocolate Factory, and James and the Giant Peach.

Scholarships available. Theater for Kids is made possible by the generous support and vision of Susie Konkel. PORTLANDSTAGE Register: 774.1043 x104 where great theater lives www.portlandstage.org

PlayNotes 31 Portland Stage 2015/2016 Season

Anita Stewart Executive & Artistic Director

Artistic/Production Meg Anderson Scenic Technician & Artist Ted Gallant Technical Director Myles C. Hatch, Shane Van Vliet Stage Managers Emily Kenny Lighting & Sound Supervisor/ Production Manager Susan Thomas Costume Shop Supervisor

Affiliate Artists Ron Botting Peter Brown Daniel Burson Maureen Butler Moira Driscoll Andrew Harris Abigail Killeen Daniel Noel Janice O’Rourke Michael Rafkin Ed Reichert Hans Indigo Spencer Dustin Tucker Bess Welden Sally Wood

Administration Paul Ainsworth Business Manager Heather Irish Box Office Associates Megan Doane General Manager & Intern Coordinator Heather Irish, Adam Thibodeau Assistant House Managers Myles C. Hatch Group Sales Coordinator Alex Kimmel Company Manager Martin Lodish Finance Director Carmen-maria Mandley Education Director & Literary Manager Renee Myhaver Assistant Box Office Manager JJ Peeler Social Media & Marketing Associate Eileen Phelan Marketing Director Elinor Reina Development Assistant Julianne Shea Education Adminstrator Donald Smith Audience Services & Box Office Manager Samara Yandell Development Manager

Intern Company Hannah Cordes Theater for Kids / Education Mariele Fluegeman Directing & Dramaturgy Dana Hopkins Props Journeyman Benn May Directing & Dramaturgy Grace K. Murrin Stage Management Connor Pate Directing & Dramaturgy Kerry Randazzo General Administration Zoe Levine Sporer Sets & Carpentry Claire Taylor Stage Management Austin Tomison Electrics & Sound Grace Weiner Theater for Kids / Education