Heidi Fellner – SAGe

A South Dakota native, Heidi began acting professionally at the Black Hills Playhouse.  Cutting her teeth on dramas like Equus and Cat on a Hot Tin Roof eventually led her to find an unexpected passion for comedy and film.  Now based out of Minneapolis, Fellner’s favorite roles include Polly Peachum in Frank Theatre’s Threepenny Opera, Laura Wingfield in Theatre in the Round’s Glass Menagerie, Juliet/Liliane in Park Square’s Panic, C in Here Today’s Three Tall Women, and Maria Harmon in the indie film Fall Into Me.


Heidi is often confronted with the idea that one is either a film or stage actor, a dramatic or comedic actor…a commercial actor or an artist.  However, she has already built a solid reputation as all of these, and more importantly, as someone who can be relied upon to bring subtlety, believability and creativity to any role she takes on.


Though the Twin Cities is often overlooked in the feature film market, Heidi feels very lucky in that several of her projects have gone on to receive awards at festivals across the country, including Best Film at the Harlem Film Festival, a Telly Award and a nomination for Best Acting Ensemble at VIFFI.  One can also catch Fellner’s work in several national television commercials, radio advertisements, see her perform standup comedy around the Twin Cities, or hear her give life to “Cali” in the animated children’s show, Auto B. Good.


Outside of her acting work, she is a food columnist for a local magazine, has seen two of her film scripts produced, provides foster care for animals through the Animal Humane Society, and is always looking for an opportunity to travel.


Reviews and Accolades:


Tim Vandesteeg, director of Fall Into Me

“I have had pleasure to work with Heidi on both commercials and a feature film; she’s a true professional, hard working and creative.”


Matthew Bird, director of Menace

“As the co-star of our 15 minute 16 mm short, Heidi was heavily featured, so her level of performance and professionalism were vital to the success of our finished project.  Heidi came highly recommended so we staked our success on her.  We were not disappointed.  We were simply blown away by Heidi’s performance.  She had a most complex role, and approached it by drawing on astounding emotional resources.  There’s nothing worse for a casting director than having to choose between attractiveness and talent.  Heidi is one of those dream actresses where you don’t have to choose.  Though her beauty can be stunning on screen, it never overwhelms the subtlety and nuance of her performance.  This was an especially challenging role, one that courts and then repels the viewer’s sympathy more than once.  This requires a performer to be simultaneously vulnerable and mysterious.  Heidi was more than up to the challenge.  Her resources seem limitless.”

Best Stage Production – City Pages, 2000:  The Threepenny Opera, Frank Theatre

“A standout cast including Steve Hendrickson and Heidi Fellner turned Wendy Knox’s staging of Brecht’s masterpiece into an artful meditation on capitalism and sin. The bait-and-switch finale, in which an enormous Trojan horse appeared out of the Southern Theater’s cramped wings, was a moment of indelible theatricality.”


Star Tribune – Review of The Threepenny Opera, Frank Theatre

“Heidi Fellner combines a strong voice with a weird daintiness as Polly, the bride.”


City Pages – Review of The Glass Menagerie

Somehow it is only mildly surprising to learn that one of Calista Flockhart’s most acclaimed stage roles was as Laura Wingfield, the skittish young maid of Tennessee Williams’s The Glass Menagerie…At the risk of slighting Ms. Flockhart’s performance, Heidi Fellner, the Laura Wingfield of Theatre in the Round’s The Glass Menagerie, is flawless.  Limping through the shadows in a dress the color of faded blue roses, she is nearly spectral.  She exudes palpable panic as her mother (Jean Olson) and brother Tom (Addison G. Johnston) argue over her future.  When the gentleman (Dan Hopman) finally comes calling, she goes to pieces answering the door.  And, as she and the gentleman engage in their halting waltz across the floor of the cramped Wingfield apartment, edging closer to the precious glass unicorn balancing on the table behind them, her blossoming ecstasy is heartbreaking.

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