Dark Fairy Tales Abound in con-con’s ‘The Secret in the Wings’

As adults, we have the distance and wherewithal to look back at the media we consumed when we were young and reflect on how it might have traumatized us. Whether it was the death of an animated parental figure, be it lion, deer or dinosaur (The Lion King, Bambi, The Land Before Time), losing a faithful steed in the Swamp of Sadness (The NeverEnding Story) or brutal lab experiments on animals (The Secret of NIMH), we all have stories about the stories that scarred us as kids.

“The Secret in the Wings,” a play that features old, lesser-known fairy tales, demonstrates that scaring children with stories of harsh consequences and dark, gruesome events is nothing new; however, it is wildly entertaining.

Written by Tony Award-winning playwright Mary Zimmerman, “A Secret in the Wings” begins when a young child is left alone with her babysitter for the night–a frightening, gruff man with a monster’s tail. The babysitter reads to her from a book, telling her tales of princesses and kingdoms, love and magic. But these fairy tales don’t feature picturesque weddings or happily ever afters as much as gouged out eyes, cannibalism and beheadings.

“The Secret in the Wings,” under the astute direction of Anne McEvoy, is convergence-continuum’s warped version of a holiday show. This might feel like a bizarre choice; after all, you’re not likely to pack the kids into the minivan to go see a show rife with maimings and murder. Yet, this less conventional offering is not unexpected from convergence-continuum, and it’s a decision that has paid off.

Tis the season for familiarity and nostalgia, and a large majority of Northeast Ohio’s theater scene is currently staging all manner of shows that tap into audiences’ seasonal desire for cheer and ease. con-con’s show, on the other hand, tells stories that–while established fairy tales–are not likely to be recognized. Both are valuable offerings, but “The Secret in the Wings” provides audiences with something familiarity doesn’t always contain: surprise.

In “The Secret in the Wings,” playwright Zimmerman slices and splices together a handful of tales in an especially intriguing fashion, launching into a new “once upon a time” before a previous story reaches its version of “the end.” Rest assured that all threads are untangled by the time the cast takes their final bow, but the unique intermingling of stories keeps you on the edge of your seat. When combined with the unexpected and unpredictable nature of fairy tales that don’t follow modern conventions, it makes for a consistently entertaining 90 minutes of theater.

convergence-continuum deploys a cast of ten players to portray the various characters in the handful of stories, including rowdy children who are turned into swans, an evil nursemaid who demands the eyes of her enemies, a widowed king determined to marry his daughter and an unamused princess who calls for the death of her suitors, among many others.

So varied and numerous are the characters that the cast members are not credited to any individual role. Instead, actors Calvin Adkins, Wolfgang Coulan, Michael Frye, Nicholas Hassan, Abby Jarvis, Connor Krohn, Abbey Marshall, Katherine Nash, Susan Stein and Yuval Tal are given equal billing. Director McEvoy ensures that this eager, inexhaustible cast works seamlessly together to unravel narratives as a team and that one player never outshines another. The actors energetically approach every story and can be commended for their ability to craft atmospheres that are at one minute light and joyful, and foreboding and creepy the next.

The play unfolds in a dark, uninviting basement designed by Scot Zolkowski. It features all the trappings that you’d expect to see in an unfinished basement used primarily for storage; there’s an old cabinet, some metal chairs along the wall, stacked cardboard boxes and racks of clothing. The cornerstone of the set is a staircase that leads to nowhere, ending at the ceiling of the theater–a confusing choice considering that the players use an inexplicable entrance located midway up the staircase.

Also designed by Zolkowski are simple but distinctive costumes that help the audience differentiate between fairytales, making sure that one story does not bleed too much into another.

Prop designer Kate Smith uses various objects that might be found in a basement to help the cast bring the fairy tales to life: a ball represents a rolling head, flexible duct hosing becomes a writhing snake, a tennis racket doubles as a rifle and a draped cloth signifies a swan’s wing.

Sound designer Léo Fez contributes sound effects that provide emphasis and ambiance, and lighting designer Robert Wachala uses stark, dramatic lighting to help set what are often intense moods.

There’s something about morbid stories that stick with us–and “The Secret in the Wings” is no exception. While it’s not a traditional holiday offering, the interesting structure and unpredictable, unhinged plotlines will certainly serve to entertain. Still, it’s probably best to keep the kids at home for this one, lest a night at the theater be the source of their early childhood scarring.

“The Secret in the Wings” runs through December 20, 2025, at convergence-continuum, 2438 Scranton Road, Cleveland. Visit convergence-continuum.org or call 216-687-0074 for tickets, $18-$23.

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