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The Wilma’s first family show is not your standard fairy tale
The Wilma presents Evgeny Schwartz’s The Snow Queen, adapted from Hans Christian Andersen
Melissa Strong
The Snow Queen by Evgeny Schwartz seems an unusual choice to open the Wilma’s 2025-2026 season, honoring the 250th anniversary of the United States with works examining justice, freedom, and identity. And in a first for the company, the show is intended for the whole family.
The play, translated by Mike Lion and Ethan Gotleib Wilcox and directed by Yury Urnov, is based on a tale by Hans Christian Andersen. But in line with the Wilma’s reputation for staging original and forward-thinking pays, this is no standard retelling (evidenced by the content advisory about toy guns and forced entry, or the “MELT ICE” shirts on sale in the lobby). The result is an entertaining allegory.
Timely themes, then and now
Elements of magic, folklore, and Christianity in Andersen’s original fairy tale are downplayed or absent here. Schwartz, a Russian playwright, wrote The Snow Queen during the Soviet era. His adaptation criticizes the love of money, emphasizing inequality and wealth disparity. The Wilma’s Snow Queen leans into the timeliness of these themes, and it adds critiques of tyranny and the “ICE” that chills more hearts than drinks.
The production draws on the strengths of the Wilma’s HotHouse Resident Acting Company, which features versatile players and palpable group synergy. There is laugh-out-loud physical comedy, and each of the nine cast members shines. The Storyteller (Anthony Martinez-Briggs) is a friendly character and welcoming guide. Bi Jean Ngo and Brandon J. Pierce bring winsome innocence to the roles of our heroine Gerda and Kai, the brother she must save from the evil grasp of the Snow Queen. HotHouse members Ross Beschler, Taysha Marie Canales, Melanye Finister, Sarah Gliko, Suli Holum, and Justin Jain demonstrate their range in diverse ensemble roles. Gliko and Beschler nearly steal the show as villains and helpers; elaborating would spoil the fun.
The actors sing and play instruments, too. Musical interludes provide context, commentary, and a touch of whimsy. As the Storyteller sings to accordion accompaniment, “There are many kinds of people in the world, and all are necessary.” A fair amount of action takes place offstage, but the acting and pace keep things moving. Characters are easy to identify thanks to the costume design by Baily Hammett and Ivania Stack. Elements of puppetry by Ksenya Litvak lend memorable qualities to the non-human characters. Michael Kiley’s sound design renders the music and dialogue easy to hear, and Misha Kachman’s sets clearly establish a series of locations.
A fable for today’s world
As for The Snow Queen’s kid-friendliness, it depends on your kid(s). The characters and setting transcend time and place, as well as fantasy and reality. We meet spoiled brats and heartless rulers, along with talking animals and drones. Kids will recognize the broad characters and magical realism. The runtime is another matter. More than two hours, including intermission, seems taxing, though there were plenty of children at the performance I attended. On the other hand, kids might miss The Snow Queen’s details and layered meaning. A little one in the next row whispered questions about what was unfolding onstage.
The Snow Queen is a social commentary/fairy tale mashup that will warm many hearts. Bravery and love triumph over greed, power, and fear. With this appealing production and its message of hope, the Wilma offers nurturing entertainment for troubled times. It might be a story for all ages, but the play is mostly geared toward older ones. Teens and adults will surely enjoy it. The Wilma’s Snow Queen is not a dark Andersen tale but a modern fable that addresses current issues, offering songs and laughter on the road to triumph.
What, When, Where
The Snow Queen. By Evgeny Schwartz, translated by Mike Lion and Ethan Gottlieb Wilcox, based on the fairy tale by Hans Christian Andersen. Directed by Yury Urnov. $20-78. November 11-23, 2025 at the Wilma Theater, 265 S. Broad Street, Philadelphia, (215) 546-7824 or WilmaTheater.org.
Accessibility
The Wilma is a wheelchair-accessible venue with assistive listening devices available, and gender-neutral restrooms. There will be open caption performances of The Snow Queen on November 22 at 7pm and November 23 at 2pm, and an audio described performance on November 23 at 2pm. For more info, visit the Wilma’s accessibility page.
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