Sylvia Alloway: A Creative Journey in Theater

Sylvia Alloway | Director

You’ve worn a lot of hats over the years—both literally and figuratively. You’re an actress, a writer, a director, a singer… What are some of the artistic projects/endeavors you’ve done that you’re most proud of?

For myself - The first professional show I ever did was Rogers and Hammerstein’s “Cinderella.” I played the lead, because of my voice, I was told. No one in my life had ever told me I had an exceptional voice. Who knew?

For SOS - During Covid, we began doing shows on Zoom. At first, it was just us, each in our own living room reading our parts. But gradually, we discovered backdrops, sound effects, music, puppets, and even outdoor locations. Once we got going, we began posting one play a month (Steve and I took turns writing), recording live on the Spirit Onstage Facebook page, and then saving the recordings. They are still there, all 23 of them if you want to watch one.

But hands down, our greatest undertaking was the Spirit OnStage trip to Kazakhstan. In 2016 a missionary friend of mine asked if I would join his team in the Central Asian former Soviet satellite in teaching a two-week English program to Russian speakers. I did, for three years in a row. 

In 2019, thinking about a fourth trip, I had a brainstorm: Why not bring Spirit OnStage with me? What better way to learn English than through theater? We gathered the “Core Four”: Steve Alloway, Ron Frescas, Mark Braun, and me, and started on our Big Adventure.

We were connected to a local group - KELT - Kazakh English Language Theater, run by two American women, Laura and Jessica. These two arranged our “gigs” at various English schools and summer camps.

After a couple of shows, we worked out our MO: perform our presentation (a story featuring Aldar Kose, a popular Kazakh folk hero, and assorted short, humorous English language skits and poems) and then invite the audience to join us for theater games. 

There were ups and downs, but the majority of our audience (mostly children and teens) loved the show and had a great time interacting with us during the games. 

For all four of us, it was the experience of a lifetime.

Also, what’s your favorite actual hat that you’ve worn onstage? 

A big, fancy straw hat about the size of a Jeep tire, replete with very large, fluffy feathers, full-blown artificial roses, a border of lilies of the valley with outsized leaves, and of course, a shiny red ribbon. It was made by an artistic friend for a millinery class. I wore it for a London-style music hall sketch.

I know you particularly love doing children’s theater and have a fair amount of experience with that. What is it about children’s theater that appeals to you, and how did you first get into it? 

How did I first get into it? Oh dear, I have to make a confession on this one. I can’t remember a time when I didn’t want to act, and my parents did NOT want me to act. As a senior in high school, I auditioned - without their permission - for a local professional theater near our home in suburban Chicago (professional plays at night, children’s plays on Saturdays with mostly young, unpaid actors). I didn’t expect much. A few days later, the director called me. I had the female lead. It was a story from the Arabian Nights. I was to play Princess Nouranahair, daughter of Caliph Haroun al Rashid, Sister of the Stars, Queen of the Moon, Niece of All the Universe!

I broke the news to my folks, and, while they disapproved of acting, they disapproved even more of breaking a promise to work for someone.

So, there I was, onstage with all those little eyes looking at me hopefully. They laughed at the jokes, gasped at the perils, and cheered when the evil villain got his comeuppance. As I looked at their beautiful faces during curtain call, I thought, “I made children happy. Theater can make children happy!” I was thrilled.

The thrill never wore off. Even when I became a professional, greeting the kids afterward and signing autographs (with the character’s name), I was still awed by the power of theater.

Little did I know that children’s theater would become one of my main missions in life.

Who have been some of your biggest influences, particularly in your writing? 

Writing came naturally to me. Almost from the time I could hold a pencil I was writing stories and poems. The talent was hereditary. My mom, a very good writer, spent much of her free time writing journals, stories, poems, and, of all things, comedy sketches and songs to be performed by her and my dad at parties. I guess acting is hereditary, as well. On vacations, she always kept a journal of our adventures.

Sometimes she would let me write an entry. She didn’t specifically “teach” me to write, except by example. I simply took in the skill by a kind of osmosis. 

Who inspires you? 

An enthusiastic audience. Hearing them laugh or sigh, or suddenly go silent at a dramatic moment is what theater people live for. And children are uninhibited, not afraid to laugh out loud, or boo the bad guy, or join in a song. Compliments afterward, the occasional fan letter, and a wide-eyed “Wow!” are great. But a positive audience reaction tells me that I’ve done my job – brought joy to children.

Where do you see Spirit OnStage going in the future? 

The school where we used to perform is gone now, but I have an idea for something similar. At the moment I am lobbying the officials at my church to allow SOS to put on one of our Bible story plays (”Noah”) on a Saturday afternoon (NOT during worship. They’re very strict about that). My goal (which I haven’t mentioned to them yet) is to perform at the church on a regular schedule and advertise it to the public as an outreach.

In an ideal world, what’s your dream project?

Several years ago, I began to write a musical based on the Book of Ruth. I pictured myself as Naomi. I got about halfway through and had even written down the music of a couple of songs - wrote out the notes in my primitive handwriting on music paper. I showed one song to my church choir director, and he added harmonies and flourishes. It sounded pretty good. Then I started thinking about a new approach, maybe a different style… And somehow, I didn’t get back to it.

I would like to finish that project, and, as long as we’re dreaming here, produce it in a real theater, with full accompaniment, authentic costumes…You get the idea.

And finally, what advice would you give to someone looking to pursue their passion in theater?

The advice seasoned actors gave to me was always, “Forget it.” But I didn’t heed that advice, and probably nobody reading this would either.

There is nothing wrong with wanting to be a working actor or even a “star”. Go for it. 

Still, you must hold such a dream lightly. Making the dream an obsession could deprive you of relationships, outside activities, recreation, social life, and even your dedication to God. And then, if the years go by, and you do not achieve your goal, you will have nothing left. Take a walk down Hollywood Boulevard at night and see for yourself.

But maybe God doesn’t want you to be a star. Maybe he wants you to be a blessing. If you have a heart for theater, somehow you will always find a way to express it in a way that inspires others. Godspeed.