Hang on to your seats everyone! Bring your best belly laugh and strongest applause — you are in for a treat when the final musical presentation of Into the Woods takes center stage today at 4 PM at George Mason University’s Center for the Arts in Fairfax, Virginia. I was blown away by the stellar performances of a cast comprised of three freshmen, seven sophomores, four juniors, seven seniors, and one music education masters student.The countless hours of practice that went into their performances were clearly evident from the moment the curtain opened. I was in awe of the cast’s flawless memorization and execution of lines, stage presence, energetic dance-like movements, and electrifying vocal renditions. Their performances were what one would expect of more seasoned actors
With Tony Award-winning music and lyrics by Stephen Sondheim and book by James Lapine, who originally directed it on Broadway, the George Mason University production celebrated the 200th anniversary of the Grimm Fairy Tales, and is directed by Ken Elston, with Musical Direction by Dr. Dennis Layendecker.
(L-R): Cara Pellegrino (The Baker’s Wife) and Kyle Imperatore (The Baker). Photo by Beth Rado.
Supported by a pit orchestra who brought their “A” game on Friday night, the audience showed immense appreciation for the sensual, deeply connected score, giving resounding applause for notable songs, “It Takes Two” (Kyle Imperatore (The Baker) and Cara Pellegrino (The Baker’s Wife); “Agony” (Matthew Lincoln-Bugg (Cinderella’s Prince) and Jacob Lash (Rapunzel’s Prince); and the touching “No One is Alone,” (Kyle Imperatore (The Baker), Alexandra Bunger-Pool (Little Red Riding Hood), Kate Merryman (Cinderella). The percussion section comprised of Patrick Horner, Brandon Austin, and Ben Mitchell drew enthusiastic responses from the audience as they perfectly delivered gonged, robust sounds complementing the fast-moving action when Matthew Lincoln-Bugg (Cinderella’s Prince) was pursuing Kate Merryman (Cinderella). The actors were never overpowered by the wonderful orchestra, which was superb from beginning to end.
Overall, the scenic design by Dana Maier was helpful to the success of the production in that it grounded the overlapping themes and events of four tales which constantly crisscrossed and collided as scenes rapidly unfolded. I would have liked Lighting (Liz Replogle) to more clearly emphasize the change in locations, e.g., when the scene centered on Kate Merryman (Cinderella) at home counting lentils or Cara Pellegrino (The Baker’s Wife) at home when the first cow escaped. Howard Vincent Kurtz’s costume designs were colorful, believable, and appropriate for the period and complemented the actors’ natural movements.
(L-R): Matthew Lincoln-Bugg (Cinderella’s Prince) and Jacob Lash (Rapunzel’s Prince). Photo by Beth Rado.
Unfortunately, during my performance, the sound suffered a few times due to actors’ static, crackling microphones. To their credit, these few missteps did not distract the actors from continuing to flawlessly deliver their lines and to enunciate perfectly Sondheim’s funny and tongue-twisting lyrics.
The four Grimm’s Fairy Tales underlying this contemporary musical (“Rapunzel,” “Little Red Ridinghood,” “Jack and the Beanstalk,” and “Cinderella”) present multiple complex characters whose paths cross in the woods where they explore individually and collectively what really happens after “happily ever after” ends. One may wonder how funny, Sunday school-like lessons of long-ago fairy tales can expound on such complex subjects as adultery, infertility, personal accountability, moral character, growing up, parents and children relationships and the unavoidable consequences of our behavior. Through the motifs of magic and transformation, Into the Woods’ poignant lessons provide meaning for these and other life struggles we all face, at one time of another. At the core of this musical is the issue of wish fulfillment and its inseparable consequences.
Brittany Martz (The Witch). Photo by Beth Rado.
An original story of a baker, Kyle Imperatore (The Baker) and his wife, Cara Pellegrino (The Baker’s Wife) deliver fine performances. Their desperately wish to have a baby, functions to intertwine the themes of four fairy tales into one complex and challenging tale. I found the somewhat deceitful actions The Baker’s Wife to be self-centered in that she easily resorted to lying, arguing, and overarching deceit in order to gain the child that she desperately wanted. Singing telling words about trading magic beans to Jack, from “Maybe They Are Magic,” she sings:
“There are rights and wrongs
And in-betweens –
No one waits
When fortune intervenes.
Amd maybe they’re really magic,
Who knows?”
With strong performances also from Jacob Lash (Rapunzel’s Prince) and Miranda Carver (Rapunzel) Act I has the familiar theme of ‘boy meets girl’ in spite of her mother’s attempt to dissuade them. Not yet willing or aware of the consequences of their actions, they are eventually reunited with Rapunzel’s family. By Act II we know there are consequence to pay, but I will leave that to you to discover.
Rafael Medina (Jack) possessing a rich, singing voice, symbolized someone who let greed define him. Three trips up the beanstalk to take what he wanted was just not cool.
Kate Merryman (Cinderella). Photo by Beth Rado.
Possessing empathy for all mothers – Christine Huff’s (Jack’s Mother) disastrous outcome made me sad because I am a mother myself. After all, as mothers we want to identify with love and nurturing (something Stephen Sondheim never received from his own mother).
Kate Merryman delivered a vocally astounding performance as Cinderella. Her vocals on “On the Steps of the Palace” were simply gorgeous.
Rob Swanson (The Wolf) possessed another fine voice, whether speaking his part or singing, while balancing humor against deeper themes. Displaying the whimsical trait of being unable to control his appetite for ‘strange fruit, sweet young girls and old grandmothers – he falls victim to being slain himself.
Of all the characters, my two favorites were Brittany Martz (The Witch) – for her vocal delivery and bewitching mannerisms – for her whimsical, flippant style in her delivery, and Matthew Lincoln-Bugg (Cinderella’s Prince) – for his clueless personae and assumption of privilege, be it gender, sex or class, and the richness of his beautiful voice.
Kudos to the entire Into the Woods cast and designers for this entertaining and moving journey.
Running Time: Two hours and 30 minutes, including one intermission.
Into the Woods plays at George Mason University’s Center for the Arts today at 4 PM in The Center for the Arts – located on the Fairfax campus of George Mason University at the intersection of Braddock Road and Route 123, in Fairfax, VA. For tickets, purchase them online. Here are directions.
LINKS
Interview with cast members Brittany Martz, Kate Merryman, Jacob Lash, and Miranda Carver.
Interview with cast members Alexandra Pool, Matt Succi, Matthew Lincoln-Bugg & Rafael Medina.
Interview with cast members Kyle Imperatore and Cara Pellegrino.
Interview with Musical Director Dr. Dennis M. Layendecker.
Journey into the woods as we meet four cast members – Alexandra Pool, Matt Succi, Matthew Lincoln-Bugg & Rafael Medina – of George Mason University’s production of Into the Woods, playing this weekend at George Mason University’s Center for the Arts.
Alexandra Pool
My name is Alexandra Pool. I am 18, and I grew up in a suburb of Cincinnati, Ohio called Wyoming. I am a Freshman.
What productions and roles have you played at George Mason University and elsewhere?
This is my first show at GMU; the musical roles I’ve played before include Tzeitel in Fiddler on the Roof and Babette in Beauty and the Beast, but most of my work has been straight theatre, particularly Shakespeare.
What two roles are your dream roles to play in the future?
Non-musically, Cecily in The Importance of Being Earnest, and musically Millie from Thoroughly Modern Millie.
Why did you want to appear in George Mason University’s production of Into the Woods?
Theatre is my passion, I love musicals, and I knew it would be an amazing production.
(L-R) Rafael Medina (Jack) and Alexandra Pool (Little Red Riding Hood) performing at the seventh annual ARTS by George! benefit event in September 2012.Photo by Stan Engebretson.
Introduce us to the role and character you are playing and tell me how you relate to this character.
I’m playing Little Red Riding Hood – a character on the brink of maturity but not quite there who begins the show as a naïve little girl and ends it wise enough to know that wisdom is worth it even when you don’t want it. As one of the younger members of the cast, I can definitely tap into the feeling of being a girl who doesn’t even know how much she doesn’t know, and I think that feeling of ‘knowing things now’ after a life experience you weren’t prepared for is something we can all relate to.
What has been the most difficult challenge learning your role?
Little Red takes such a journey over the course of the show that it’s been a challenge to really keep in mind, in my physicality, my voice and my performance where exactly she is in that journey during any given moment of the musical.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
Our brilliant Music Director Denny Layendecker has been amazing about showing me how much Sondheim gives you to work with, just in the music itself. One thing he’s reminded us many times that’s incredibly insightful and helpful is that “It’s all music”: not just the songs and the notes and melodies, but even the text itself and the way the characters interact. He’s taught me that using the poetry of the music instead of just the math will not only make it more compelling, but also make it easier to sing- which is a useful and wonderful revelation.
Our director, Ken Elston, is the reason Little Red will have the depth and character arc I’m trying to give her. He’s taught me how the fluidity of the moment and the dependence of a character’s objective on the people around you – are what makes a scene and character compelling.
What is your favorite line of lyrics from the show?
It’s a tie between a line I sing- “Isn’t it nice to know a lot? And a little bit not.” And “Dwarfs are very upsetting!” from Agony.
How would you describe Stephen Sondheim’s score for Into the Woods?
Brilliant! Full of melodic jokes and clever lyrics, containing songs ranging from hysterical to charming to thought-provoking and melodies that captivate you and carry you along with them.
How is Into the Woods relevant today to students of your age?
Into the Woods is such a show about people learning who they are – which is exactly what students my age are trying to do.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
The song “Agony,” sung by the two princes, is the funniest thing in the show- as well as being sung surpassingly well by two incredibly talented singers! I sing along every time when I can catch my breath from laughing- it’s fantastic.
Why should audiences come to see this production of Into the Woods?
Into the Woods would be worth it just for the comedy, or just for the music, or even just for the amazing costume and set design, but the people I’ve been lucky enough to work with are bringing enough talent and passion to this show that audiences should come to see it because it will make you think, make you feel, and stick with you for a long time.
Matt Succi
My name is Matt Succi. I am 18 and I grew up in Orlando, Florida. This is my first year at George Mason University.
What productions and roles have you played at George Mason University and elsewhere? This is my first role at George Mason University.
What two roles are your dream roles to play in the future?
Jimmy from Thoroughly Modern Millie and Sky Masterson from Guys and Dolls.
Why did you want to appear in George Mason University’s production of Into the Woods?
This musical is such a big deal for George Mason University because it’s the first musical in a while, and as soon as I found out that they were doing Into the Woods, I wanted nothing more than to be a part of it.
Introduce us to the role and character you are playing and tell me how you relate to this character.
I play the Mysterious Man who also happens to be (spoiler alert) the Baker’s father. In the show a lot of the Baker’s problems were caused by his father’s mistakes and all the Mysterious Man wants to do is undo all his mistakes so that his son can be happy. Wanting to right the wrongs you do to a person you care about is something I can identify with.
What has been the most difficult challenge learning your role?
The most difficult challenge I have faced as being the Mysterious Man has definitely been getting the age down. I believe he is the oldest character in the show, so as an 18 year-old trying to play a man in his golden years, it’s a challenge, but a challenge I welcome nonetheless.
What is your favorite line of lyrics from the show?
“Any moment, big or small, is a moment after all.”
How would you describe Stephen Sondheim’s score for Into the Woods?
Complicated, but pleasant to listen to for sure.
How is Into the Woods relevant today to students of your age?
Into the Woods is full of morals and the biggest one that reached out to me was to take responsibility for your mistakes which is a universally accepted lesson for all ages. Aside from that the jokes in this show are timeless and even students my age should have a good time watching it.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
My favorite scene has to be when the Baker takes Little Red’s cape and she let out the biggest scream ever until the baker returns the cape, it’s hilarious. For song I’d say “Agony” by the princes; it’s so cheesy but they have such beautiful voices and it’s just perfect.
Why should audiences come to see this production of Into the Woods?
We have such a talented cast who worked so hard to put on this production. People are going to be talking about this show for years to come so don’t hear about the show see it for yourself, it’s going to be legendary.
Matthew Lincoln-Bugg
My name is Matthew Lincoln-Bugg. I just turned 24, and I grew up in Purcellville, VA. I am a Junior.
What productions and roles have you played at George Mason University and elsewhere?
I was “Preacher” in Bernstein’s Mass and “Ralph Rackstraw” in Gilbert and Sullivan’s H.M.S. Pinafore. AndI played “Emmett Forrest” in Legally Blonde, the Musical with McLean Community players.
What two roles are your dream roles to play in the future?
Either “Anthony” or “Toby” in Sweeney Todd, or any character in A Chorus Line.
Why did you want to appear in George Mason University’s production of Into the Woods?
It’s one of my all-time favorite shows! It got me interested in musical theatre when the revival came around and I did it my first year at the college I transferred from. There, I was “Rapunzel’s Prince.”
Matthew Lincoln-Bugg (Cinderella’s Prince) performing at the seventh annual ARTS by George! benefit event in September 2012. Photo by Stan Engebretson.
Introduce us to the role and character you are playing and tell me how you relate to this character.
I’m playing Cinderella’s Prince. He’s all about himself, which is the way he was raised. The funny thing about playing this character is that we are COMPLETELY different.
What has been the most difficult challenge learning your role?
Because I’ve done the show before, I am familiar with the material. As for creating the personality and movements of the character, it was/is challenging. Again, we are completely different. He puts himself first all the time while I’m constantly thinking about others. So, to get into character, I usually have take a second and talk myself into the role.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
I got lucky with my music. I don’t have really challenging rhythms or moving lines. But Dr. Layendecker and Dr. Elston have brought the songs that Jacob and I sing to a whole new level. So, I’m excited to see how the audience will respond to the songs.
What is your favorite line of lyrics from the show?
“Someone is on your side, no one is alone.”
How would you describe Stephen Sondheim’s score for Into the Woods?
Amazingly Genius!!!
How is Into the Woods relevant today to students of your age?
Never take for granted what you have or what you get.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
“Your Fault.” That is way too much fun, haha.
Why should audiences come to see this production of Into the Woods?
They’ll get a better understand of how the stories came to be and what happened after. And, it’s a fun show!
Rafael Medina
My name is Rafael Medina. I turned 21 last summer. I grew up in the town of Great Bridge, Virginia, but I consider many places home. I’m a senior.
What productions and roles have you played at George Mason University and elsewhere?
George Mason University: Fuddy Meers, TempOdyssey, Kimberly Akimbo, The Last Five Years, The Elephant Man
TFA: Live Wire
LOCAL: Lisa Frank Virginity Club – 2012 Intersections Festival at Atlas Theatre
Answers , F2F – 2012 Source Theatre Festival
What two roles are your dream roles to play in the future?
My two dream roles are Beast from Beauty and The Beast and Gabe from Next to Normal.
L-R) Kyle Imperatore (The Baker) and Rafael Medina (Jack) at George Mason University’s seventh annual ARTS by George! benefit in September 2012. Photo by Stan Engebretson.
Why did you want to appear in George Mason University’s production of Into the Woods?
I was keenly set upon being part of this production because of the many truths the story has to reveal about the human journey. Similar to why I will encourage audiences to come see the show, the story illuminates the truth that the human spirit has the power to transcend all other forces in the universe. And while there is something beyond our physical control, the forces which bind hearts together can never be broken. I wanted to be part of movement that tells that truth.
Introduce us to the role and character you are playing and tell me how you relate to this character.
Jack is a dreamer. He lives at home with his mother, who thoroughly protects him from the outside world . . . maybe too much. He’s a young man who has no father and is desperate to make connections and life lasting friendships. He is the caretaker of his cow, Milky-White, his closest, most dear friend in the world. Jack can have a tendency to be clumsy and naïve, but that is only because he doesn’t know the challenges and obstacles the larger world has in store because of his loving and protective mother. Even though he hasn’t been exposed to the outside world that much, he has an incredible imagination. And with his imagination has incredible potential. He desires friendship and community – two things that without I could not survive.
Jack is the kind of boy who catches fire once he has set his heart upon something he truly wants; it is through this quality that I most closely connect to Jack.
What has been the most difficult challenge learning your role?
It has been a challenge understanding Jack’s cognitive process and arc. And Jack always has something on his mind that does more than take up space. He desires to have things figured out before he embarks on any journey, but what he doesn’t realize is that there were many things he forgot to account for. Jack undergoes an enormous transformation from the beginning of the play to the end. By the second act Jack and his mother are rich. Jack has stolen a prized possession from Giants in the Sky which has made him and his mother much better off. And of course, because of Jack’s journey through act one and the time elapsed into act two, Jack is a different person; he has a new sense of confidence, an increased feeling of worth and belonging included. Being able to portray Jack in those two separate yet connected lights has been my greatest challenge.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
From and acting standpoint it has been emphasized to above all else to not lose the story in anything I and the rest of the cast do on stage. The acting and the singing marry each other, so long as we’ve done our personal work trust it, and remember that we’re telling a story. And our responsibility to the story is beyond description. As I’ve learned in the past but also renewed again in this production process, our cast has incredulous responsibility to our telling of this story. We possess and ethereal power once we’re on stage and it is our task to tell it in the way we think truth is most honestly revealed and shared with the audience.
What is your favorite line of lyrics from the show?
“No One is Alone.”
How would you describe Stephen Sondheim’s score for Into the Woods?
Hauntingly inspiring. Potent, in the way it can stick with you after you’ve experienced the story. Sondheim’s work brings an incredible variation in texture and color, allowing audiences to see and hear circumstances in ways they may have never envisioned, which help make the story of our characters come to life.
How is Into the Woods relevant today to students of your age?
Into the Woods offers students my age to remember that the course of our lives is undefined. It is impossible to foresee exactly what is in store for all of us. And of course, this can be frightening. But we must find the courage within ourselves to venture into the unknown, and remember that we are never alone. We can make discoveries in friendships, relationships, and maybe most uniquely, people we don’t even know that can change our lives forever.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
“Stay With Me.” It is my favorite because it is unconcealed love pouring out of someone into another.This song illuminates the tenderness and loving nature of the Witch that can be drowned out in her personal torment and struggles of the past.
Why should audiences come to see this production of Into the Woods?
Audiences should come see Into the Woods to venture, remember, discover and treasure. I personally believe that people need to be able lean and depend on each other more. As the witch says, “The world is dark and wild.” We need to be there for each other. This story burningly ignites the truth that the human spirit transcends all other forces in the universe no matter how great the obstacles. I’m eager to share this truth.
Into the Woods plays at George Mason University’s Center for the Arts Concert Hall – located on the Fairfax campus of George Mason University at the intersection of Braddock Road and Route 123, in Fairfax, VA. Performances are on Friday, October 26, 2012 at 8 p.m., Saturday, October 27, 2012 at 2 p.m. and 8 p.m. and on Sunday, October 28, 2012 at 4 p.m. For tickets, purchase them online. Here are directions.
Journey into the woods as we meet four cast members – Brittany Martz, Kate Merryman, Jacob Lash, and Miranda Carver – of George Mason University’s production of Into the Woods, playing this weekend at George Mason University’s Center for the Arts.
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Brittany Martz
My name is Brittany Martz. I am 21 and I grew up in Fairfax Station, VA. I am a senior.
What productions and roles have you played at George Mason University and elsewhere?
At George Mason University:
The Life of Galileo – Virginia
Equus – Jill Mason
Elsewhere: The Goddess Diaries – Emily – 2012 Captial Fringe Festival The Morphine Diaries – Friend (Supporting) – 2011 Capital Fringe Festival The Uses of Enchantment – Jenny Stone (Lead) – 2012 SOURCE Festival
What two roles are your dream roles to play in the future?
Nina Rosario – In The Heights
Catherine – A View From The Bridge
Why did you want to appear in George Mason University’s production of Into the Woods?
I wanted the opportunity to work with Ken Elston as a director and it had been entirely too long since I’d delved into musical theatre.
Introduce us to the role and character you are playing and tell me how you relate to this character.
Brittany Martz (The Witch) performing at the seventh annual ARTS by George! benefit event in September 2012. Photo by Stan Engebretson.
I play The Witch. She’s a very complicated woman – I’ll leave it at that. I think I can relate to her feistiness and her energy.
What has been the most difficult challenge learning your role?
The music, by far. I’m not a music major and tackling Sondheim has been a feat. That said, I feel as if this challenge has really helped me to grow as a performer.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
I’ve learned from Dr. Layendecker that it’s important to sell the song, that the “math” of the music shouldn’t trump the message of the music, and that if we stop thinking about the math it normally will fall into our laps with practice. Ken has taught me new ways of rehearsing and working through difficult scenes/scores.
What is your favorite line of lyrics from the show?
“Dwarves are very upsetting.”
How would you describe Stephen Sondheim’s score for Into the Woods?
Brilliant and challenging.
How is Into the Woods relevant today to students of your age?
I think Into the Woods is a great show for students my age to see because it really touches on what it means to “grow up.” We’re all emerging adults coming to terms with the fact that life isn’t easy – that we make mistakes, that our parents aren’t perfect, that sometimes no matter how much we do things “the correct way” they don’t always come out the how we expected them to. At the same time, the show helps to remind us that we’re not alone in this crazy “life” thing.
What is your favorite scene and song that you are not in and that you don’t sing?
My favorite scene that I’m not in is probably “Agony.” Matthew and Jacob are hilarious! My favorite song that I don’t perform in is “No One Is Alone.” Kate sings like and angel and the song has such a beautiful message.
Why should audiences come to see this production of Into the Woods?
Because Mason is doing new things and it’s exciting! Come grow with us!
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Jacob Lash
My name is Jacob Lash. I am 23 years old. I grew up in Broad Run, VA. I’m a Junior.
What productions and roles have you played at GMU and elsewhere?
1. The Importance of Being Earnest – Algernon Moncrieff – Gainesville Theatre – Februrary, 2006.
2. Anne-Arky – Mr O’Neill – Gainesville Theatre – June, 2006.
3. It’s a Wonderful Life – George Bailey – Gainesville Theatre – December, 2007.
4. Charlotte’s Web – Lurvy – Riverside Dinner Theater – May, 2007.
5. Godspell – Jesus – Gainesville Theatre – December, 2009.
6. Godspell – Jesus – Fauquier Community Theater – October, 2011.
What two roles are your dream roles to play in the future?
Monsieur Thenardier from Les Miserables.
Fagin from Oliver!
Why did you want to appear in George Mason University’s production of Into the Woods?
I knew that George Mason University’s production of Into the Woods would be directed, managed, and produced by professionals. This is a rare opportunity for a young person, and I wanted the chance to learn from the best. I also knew it would be an incredible way to get to know my fellow Patriots a lot better – and I’ve had an incredible experience so far!
Introduce us to the role and character you are playing and tell me how you relate to this character.
Jacob Lash (Rapunzel’s Prince) performing at the seventh annual ARTS by George! benefit event in September 2012. Photo by Stan Engebretson.
I am playing Rapunzel’s Prince. He’s pretty into himself. He’s charming, dashing, handsome – and he knows it. He’s a hunter – always looking for the next woman in his life. I don’t relate a whole lot to this guy – except that he never finds total and complete satisfaction in another person, which I have found to be true in my life.
What has been the most difficult challenge learning your role?
Learning to play the badass who’s driven more by lust than by reason has been very fun but at times a challenge.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
TONS! I’ve learned a great deal about how to sing in such a way that the important words really pop out and grab the audience. Also, the direction of a musical line is so important. It’s so much more than simply singing the correct notes and getting the words right. It’s about communicating an idea, about expressing a desire or need, about getting your point across – and both the Musical Directors and Director have been exceptional in teaching the cast how to accomplish this.
What is your favorite line of lyrics from the show?
BAKER: Well… perhaps it will take the two of us to get this child.
How would you describe Stephen Sondheim’s score for Into the Woods?
Challenging on all fronts – melodically, rhythmically, and lyrically. Sondheim has woven together a masterpiece of humor, drama, and storytelling in his score. It’s difficult to learn, but it is entertaining, gripping, and effective. I love it.
How is Into the Woods relevant today to students of your age?
It’s a story about change – it’s easy for students to relate to what it means to face change.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
“It Takes Two”- it’s a love song between the Baker and the Baker’s Wife. It’s different than your average musical theatre love song. It’s light, fun, cute, and funny. Most of all, it is full of relationship – it captures the relationship between a husband and wife who have intense struggles both as individuals and in their marriage….and yet love each other in their journey through the hills and valleys of life
Why should audiences come to see this production of Into the Woods?
It’s thoroughly entertaining. You’ll never believe how a bunch of fairy tale characters could both make you laugh and grip your heart until you’ve seen this production. It has something for everyone – it is both light and heavy, joyful and mournful, humorous and serious, frivolous and full of meaning.
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Kate Merryman
My name is Kate Merryman. I am 21 and I grew up in Reston, VA. I am a Senior.
What productions and roles have you played at GMU and elsewhere?
George Mason University Opera – Amahl in Amahl and the Night Visitors, Pinellino in Gianna Schicci, Narrator in Joseph and the Amazing Technicolor Dreamcoat at McLean Community Players, and Elle in Legally Blonde, the Musical at McLean Community Players
What two roles are your dream roles to play in the future?
Eliza Doolittle in My Fair Lady and Eponine, Fantine, or Cosette in LesMiserables.
Why did you want to appear in George Mason University’s production of Into the Woods?
Into the Woods is such an amazing show and a challenging show. I was excited to take on this challenge. Also, being in a musical is such a joy. There is nothing like live theater.
Introduce us to the role and character you are playing and tell me how you relate to this character.
Kate Merryman (Cinderella) performing at the seventh annual ARTS by George! benefit event in September 2012. Photo by Stan Engebretson.
Cinderella is stuck in her father’s house with her “evil” step mother and sister. Her father ignores her. She is alone and constantly having to please everyone. The only people she has are her friends, the birds, and her Mother’s grave. Yet, Cinderella is a dreamer and a wisher. She is not content with her current situation so she goes on a journey to find what she really wants. In the process she grows up and becomes wiser. I am a dreamer as well. I love to imagine what my life will be like in the future. I also like to think of myself as brave and daring. I relate most to those two qualities.
What has been the most difficult challenge learning your role?
Finding the arch in the character and the emotional and internal journey within the character. Then taking the audience on that journey with me.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
“Everything is music,” Dr. Laynedecker says. You truly can’t separate the two, otherwise you get a disconnect between the stories. Also, the intent and objective. There are so many intricate relationships in this story that every line and song has to have an intent, they are not just place holders or transitions.
What is your favorite line of lyrics from the show?
“My father’s house was a nightmare, your house was a dream, now I want something in between.”
How would you describe Stephen Sondheim’s score for Into the Woods?
Complex, but brilliant. He writes for intent and objective. There is a reason for every pause, every rhythm, and every dynamic.
How is Into the Woods relevent today to students of your age?
We all still wish and we all face obstacles, but it is how you handle those obstacles that make you who you are. That is how you grow as a person, you face the problems, even if you make mistakes you learn something knew.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
“I Know Things Now” because she talks about learning new things. She made discovers, which is what life is about.
Why should audiences come to see this production of Into the Woods?
It is a twist on the fairy tale characters everyone knows—they are real! They are real people that everyone can relate to. On a basic level, the show is fun, entertaining, and is full of magic! What is better than that?!
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Miranda Carver
My name is Miranda Carver. I am 19 and I grew up in West Point, VA. I am in my second year.
What productions and roles have you played at GMU and elsewhere?
Sandy in Grease atWest Point High School.
Maggie in Brigadoon atWest Point High School.
What two roles are your dream roles to play in the future?
I actually do not have my sights set on a future in performance. Instead my two dream roles would be that of educator and that of global citizen.
Why did you want to appear in George Mason University’s production of Into the Woods?
One of my favorite things about being a student at George Mason University is the opportunity to be a part of so many new and exciting ventures. As I love to perform, I thought this production would be a great way to take advantage of that.
Introduce us to the role and character you are playing and tell me how you relate to this character.
Rapunzel is a young woman who, upon reaching puberty, was placed by her foster mother – the Witch – in a doorless, stairless tower. She has mixed feelings about the Witch, both her jailer and her provider, and becomes very lonely and restless in her prison. I most identify with my character in her discovery that, despite what the Witch has been insisting, there are wonderful things “out there in the world.” However, unfortunately for Rapunzel, she is not prepared to deal with the realization that there are horrible things that come along with the good.
What has been the most difficult challenge learning your role?
For me the hardest part has probably been learning how to handle the various starting notes of my repeated vocal line. I sing it frequently, sometimes offstage, and often the notes are hard to land on in context.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
The teamwork Director Elston and Dr. Layendecker, has given this production a lot of color. Director Elston really focuses on helping us to find the genuine needs of our characters, and Dr. Layendecker helps us to decipher the musical clues that underline certain concepts and add comedy throughout the work.
What is your favorite line of lyrics from the show?
My favorite line comes from the song, “No One is Alone,” and reads, “Witches can be right, giants can be good. You decide what’s right, you decide what’s good.” I think it’s important to remind ourselves that labels and group affiliations do not determine the personal merit of the individual, and that we must conduct ourselves based on our own sets of values, not on the “rules” of belonging to a particular group, whether that be a political party, a religion, a nation, or a culture.
How would you describe Stephen Sondheim’s score for Into the Woods?
I feel it would be hard to refute the assertion that Sondheim is a master of his trade. This score is full of what Dr. Layendecker calls “arches,” the reappearance of musical ideas, both obvious and subtle, that send important messages. For example, in the finale of Act I, the characters insist that “You mustn’t stop, you mustn’t swerve, you mustn’t ponder. You have to act!” In Act II, however, within the same musical context, the characters have changed their message: “You can’t just act, you have to listen. You can’t just act, you have to think.”
How is Into the Woods relevant today to students of your age?
One of the wonderful things about being a student and being young is the fact that we are in the process of “pursuing our wishes.” This is the main concern of Act I, at the end of which all the “good” characters “get what they deserve,” as do the “bad” characters (or so our culture labels them). However, Act II reminds us that our stories do not end when we accomplish a goal; the characters must face the consequences of their previous actions. That’s something that I think is important for my age group to remember.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
I have to say my favorite is the scene that includes the songs “Your Fault” and the Witch’s “Last Midnight.” This is in part out of admiration for my teammates (I would consider this scene one of the more challenging, both musically and emotionally). But I am also intrigued by the Witch’s response to becoming a victim, of sorts, of the prejudice against her as “The Witch.” Her solo includes many thought-provoking lines that force the listener to reflect on his or her own use of prejudice, including “Of course all that really matters in the blame,” “You’re so nice. You’re not good, you’re not bad, you’re just nice,” and “I’m what no one believes, I’m the Witch.”
Why should audiences come to see this production of Into the Woods?
This production is worth seeing because of its role in the larger context of performance art. I would encourage people to see not only this team’s interpretation, but also that of others. That is where I believe the value of art is – in seeing all of the different ways people can derive meaning from the same work or set of circumstances.
Into the Woods plays at George Mason University’s Center for the Arts Concert Hall – located on the Fairfax campus of George Mason University at the intersection of Braddock Road and Route 123, in Fairfax, VA. Performances are on Friday, October 26, 2012 at 8 p.m., Saturday, Oct. 27, 2012 at 2 p.m. and 8 p.m. and on Sunday, Oct. 28, 2012 at 4 p.m. For tickets, purchase them online. Here are directions.
Meet The Baker and The Baker’s Wife in George Mason University’s production of Into the Woods.
L-R) Kyle Imperatore (The Baker) and Rafael Medina (Jack) at George Mason University’s seventh annual ARTS by George! benefit in September 2012. Photo by Stan Engebretson.
My name is Kyle Imperatire. I am 19 years old and I grew up in the town of Mastic Beach on Long Island, New York. I am a Sophomore.
My name is Cara Pellegrino. I am 26 and grew up in Rockville, MD. I am a first semester graduate student.
What productions and roles have you played at George Mason University and elsewhere?
Kyle: Mason Opera
The Rt. Hon. Sir Joseph Porter, KCB, First Lord of the Admiralty – H.M.S. Pinafore
MUSICAL/COMEDY, Inc.
Foxwell J. Sly and the Honorable Judge Thunder T. Bastardson –
William Floyd High School Nathan Detroit – Guys and Dolls (Nominated for STARS Award for Best Leading Actor in a Musical)
Dromio from Syracuse – The Boys from Syracuse (Won STARS Award for Best Supporting Actor in a Musical)
Tommy – Ah, Wilderness!
Mr. Lundie – Brigadoon
Rev. Arthur Humphrey – See How They Run
Ensemble – Cabaret
Nico – A Stone in the Road
Dr. Einstein – Arsenic and Old Lace
Mayor Shinn – The Music Man, Jr.
Cara: This is my first role at GMU, but I participate in surrounding community theaters. Past roles include: Mary Flynn in Merrily We Roll Along (Wildwood Summer Theater), Mayzie la Bird in Seussical (Kensington Arts Theater 2nd Stage), Eve/Mama Noah in Children of Eden (Greenbelt Arts Center), and Ado Annie in Oklahoma! (Rockville Musical Theater).
What two roles are your dream roles to play in the future?
Kyle: Honestly, I don’t really hope for anything so as to not be upset if I miss a chance. I have always had a dream to play Tevye in Fiddler on the Roof, though.
Cara: Diana Goodman in Next to Normal and Mrs. Lovett in Sweeney Todd.
Why did you want to appear in George Mason University’s production of Into the Woods.
Kyle: I love performing, and as stressful as it is, its great to keep busy with a great cast. Joining a production is always a learning experience.
Cara:Into the Woods has been on my “bucket list” of shows I’ve wanted to do for a long time. I applied to grad school in the spring, was accepted and signed up for my class (as a working music teacher, my plan was to take one class at a time), and then found out they were doing this show. I thought it couldn’t have been more of a sign that I should audition.
Introduce us to the role and character you are playing and tell me how you relate to this character.
Kyle: The character that I am playing is The Baker, and while most of the other characters in the show have homes in their respective fairy tales, the Baker and his wife do not. They are much like regular people, and at first it seems like they don’t belong in the woods. Because of an arcane spell placed on him and his parents, he and his wife are unable to have a child, and it has caused a great deal of awkward tension between the two. Fortunately, their neighbor, the Witch, offers to lift the spell she cast if they can find four strange objects in the woods. The Baker, wishing to make it up to his wife, decides to go out alone to find the objects, against her wishes. I have found many ways to relate to the Baker, being that throughout a majority of the play the Baker is seen as a sort of wimpy guy (who is indeed afraid of the woods), and yet wishes to accomplish things on his own, without the help of others, to prove his worth. He matures by the end, and takes on the father-figure heroic role that all men aspire to be. In many ways, the character and his father remind me of my own father and grandfather, and this relation has helped me develop his personality.
Cara: I play The Baker’s Wife. She and her husband (the Baker) want a child more than anything in this world, and throughout the course of the first act go through a great deal to get one. I relate to the Baker’s Wife, because she is a good person, and she tries, but things keep cropping up which make her stray from her path.
What has been the most difficult challenge learning your role?
Kyle: I would say, this being my first college musical production, my biggest challenge has been breaking habits that either do not speak well on stage or do not fit the character. It’s also difficult because, as I am a college student and not a father, I am trying to mature at the same time as my character in a similar way.
Cara: On the surface, The Baker’s Wife seems to be a simple character to understand, but as I’ve been delving deeper I have found there to be layers upon layers. I think this is what has been a big challenge for me – making sure that I’m getting the complexities across in my acting.
(L-R) Rafael Medina (Jack), Alexandra Pool (Little Red Riding Hood), Kyle Imperatore (The Baker), and Kate Merryman (Cinderella). Photo by Stan Engebretson.
What have you learned from your Musical Director and Director about playing your character and about singing this ‘not-so-easy’ score?
Kyle: My director has been an immense help throughout this process, and has taught me how to act more realistically for the part, so that the emotions of a regular man trying to become a father really shine through to the audience. My musical director has also been very helpful in showing us the importance of certain lyrical and melodic ideas and in getting us to portray the music in a way that is representative of Sondheim’s musical genius.
Cara: I think the biggest thing I have learned is that there are cues everywhere within the music about how to interpret each song. There are clues within the lyrics, the melody line, the accompaniment … it’s easy to miss if you aren’t paying attention.
What is your favorite line of lyrics from the show?
Kyle: Oh, this is a hard one. There are so many areas where the wordplay is witty and thought provoking, but I would have to say my favorite line of lyrics is from the song “Maybe They’re Magic,” towards the end, when the Baker’s Wife proclaims, “Only three more tries and we’ll have our prize. When the ends in sight, you’ll realize: if the end is right, it justifies the beans!”
[Joel’s note: It’s my favorite lyric line too Kyle!]
Cara: “Into the woods to get the thing that makes it worth the journeying.”
How would you describe Sondheim’s score for Into the Woods?
Kyle: Sondheim is no doubt one of the greatest musical geniuses of our time, and this score is no exception to his amazing body of work. The score for Into the Woods is both familiar, as the simple melodies and storylines harken back to childhood fairytales and folksongs, and at the same time very strange. Melodic lines are sometimes very disjunct and the harmonies are often very unusual, but Sondheim still manages to pull it all together into a score that is coherent and oftentimes revelatory.
Cara: Thick – both openings have all the characters on stage overlapping their singing lines. It makes the pieces very interesting for the listener, both visually and aurally, but is not the easiest to learn!
How is Into the Woods relevant today to students of your age?
Kyle: Into the Woods is one of those shows that will always remain relevant. The characters are nostalgic beings that every child knows well, but in this show, they are faced with real world problems that everyone confronts at some point or another. For Jack, it’s trying to become a man without hurting your overbearing parent, for Little Red Riding Hood, it’s moving from naiveté into the harsh reality of a world filled with dangerous and bad people. Even Cinderella faces a problem that we see televised all the time: a case of rags to riches, where neither world is as happy as one would like. The morals found in each individual character’s story, and in their stories as a group, are unending and benevolent.
Cara: All of these characters are wishing for things that people wish for today; a child, going to the ball (or the cool party), wishing for enough money to get buy. I think these things are easy for people of all ages to relate to, which is why it makes it such a great show. Both kids and adults can come and enjoy it and see themselves in any of these characters.
What is your favorite scene and song that you are not in and that you don’t sing, and why?
Kyle: I love humor, and there is no song in the show that gets me like “Agony” (and Reprise). The music is so witty, and our Princes do such a great job that it is impossible not to laugh!
Cara: I think my favorite song/scene that I am not in is “Your Fault,” sung by Cinderella, the Baker, Jack and Little Red. It’s another one of those overlapping, quick-paced songs, that takes a LOT of rehearsal time to get right, but when it’s there it is just so great to watch! A child’s instinct to point the finger at someone else is very ingrained (which doesn’t go away as we grow up, either), and this song gets the speed and feel of tattling across so well.
Why should audiences come to see this production of Into the Woods?
Kyle: We’ve worked really hard to put an emphasis on the morals of the show, and to develop each character to their fullest potential. The cast is made up of some of the best actors and singers in the area, and since it is the first musical Mason has put on in a very long time, we’ve pulled out all of the stops. People of all ages can find different aspects of the show to love, to laugh at, to think about, and, maybe, even to cry over. If there is one production this year that will actually build the character of the audience member, it is our production of Into the Woods.
Cara: Audiences should come see this production of Into the Woods for three reasons:
1. This is the first collaborative production between the Mason Theater and Music Departments – this is a huge task, and it’s going very well!
2. The cast is incredibly talented and fun to watch!
3. There is something for every age group in this show, so anyone can come and enjoy the performance!
Into the Woods plays at George Mason University’s Center for the Arts Concert Hall – located on the Fairfax campus of George Mason University at the intersection of Braddock Road and Route 123, in Fairfax, VA. Performances are on Friday, October 26, 2012 at 8 p.m., Saturday, October 27, 2012 at 2 p.m. and 8 p.m., and on Sunday, October 28, 2012 at 4 p.m. For tickets, purchase them online. Here are directions.
Joel: Please tell us about The School of Music at George Mason University and your position. How long have you been at George Mason University?
Dr. Layendecker: I am at the beginning of my 4th year at George Mason University and we were designated a School of Music in May 2009.
How many performances will The School of Music offer this year?
The School of Music is involved in over 400 events each academic year from symphony orchestra and wind symphony to opera and choral performances to jazz and athletic bands to student recitals and master classes. We typically produce up to 30 ticketed performances per year and 80 concerts overall.
Why did you select and want to conduct and musical direct Into the Woods?
We chose Into the Woods in part because it offered a small enough, workable cast for this initial venture together, between the School of Music and Department of Theater. It allows a smaller orchestra compared to other productions, which is more manageable for now.
It is also the 200th anniversary of the Grimm Fairy Tales. Because the tales originated in Germany, Into the Woods also fits into our month-long German theme, think Transatlantic.
How would you describe Stephen Sondheim’s score for Into the Woods?
It is multi-layered, complex, contrapuntal, deeply connected to the tone of the drama, almost Wagnerian in its motific association with various characters, containing multiple linkages and tie-ins with other characters. The music and drama are deeply integrated and cyclic. It is a masterpiece of formal architecture.
How many musicians will be playing this score in the GMU production?
There will be 17 musicians.
Did you have to create new orchestrations for the large group of musicians for this production or are you using musical arrangements that have already been created by Jonathan Tunick?
We are playing the original score, but there is some leeway with the sound effects so the students are having great fun with those.
What instruments comprise the 22 musicians in the orchestra?
There are 17 musicians: 1 flute, 1 clarinet, 1 bassoon, 2 horns, 1 trumpet, 3 percussionists, 1 pianist, 1 synthesizer, 2 violins, 1 cello, 2 violas, and 1 bass.
The ‘Into the Woods’ cast rehearses. From left, Rafael Medina, Alexandra Pool, Kyle Imperatore and Kate Merryman. Photo by Stan Engebretson
What are some of the challenges in preparing your musicians to play Sondheim’ score?
The score is highly complex, even Stravinsky-esque, rhythmically and harmonically complex. It is transparent, offering very little room for unnoticed error. The timing with the drama is very challenging with all the sound effects in the score from birds chirping to cows mooing to magic beans.
What is the rehearsal schedule like?
The orchestra has been rehearsing separately from the cast once a week for 1 ¼ hours at a time up until production week. We have a sitz probe a week before production week and two dress rehearsals during the production week prior to the performances. The cast has been rehearsing six days a week since the beginning of September.
The School of Music is collaborating with the Department of Theater on this production. What has that experience been like? Have you worked with Ken and his department before?
We discover the extraordinary teaching, directing and creative talents of our faculty and staff colleagues in the Department of Theater. They are exceptional. Furthermore and in particular, our students from the School of Music who are participating are offered a wonderful learning opportunity working with truly professional theater direction provided by Professor Ken Elston.
In addition, we look forward to many more co-productions. The lessons learned in developing this project will prove essential as we move forward to define our mutual rules of engagement in collaborating in the Musical Theater Certificate at Mason.
What have been some of the challenges and pleasant surprises of working together?
The challenges have been in coordinating hours, the logistics, and keeping up with our responsibilities as directors of the respective enterprises. The pleasant aspect is thatwe work well together and match well in an artistic complement. It’s been great.
How have the students reacted to the joint venture?
In seeing the exchange between the music and theater students, they help each other with any shortfalls and bring their strengths to each other and raise the level of the performances. This is beyond positive. This one merits “four Wows.”
What is your favorite song in the score and why?
I have two. The first is “No More,” sung by the Baker toward the end of the musical. It has to do with men growing up. The second is sung by the witch, “Children Will Listen.” It contains the whole moral of the story.
What do you want audiences to take with them after they have seen Into the Woods?
I want them to enjoy the production for all its merit, but also to think of Mason when they want musical entertainment. We have many music and theater events open to the public throughout each semester. We hope it will also get more students to consider Mason, especially with the establishment of a certificate program in Musical Theater integrated with a Bachelor of Art in Music or a Bachelor of Fine Arts in Theater.
Into the Woods plays at George Mason University’s Center for the Arts Concert Hall – located on the Fairfax campus of George Mason University at the intersection of Braddock Road and Route 123, in Fairfax, VA. Performances are on Friday, October 26, 2012 at 8 p.m., Saturday, October 27, 2012 at 2 p.m. and 8 p.m. and on Sunday, October 28, 2012 at 4 p.m. For tickets, purchase your tickets online. Here are directions.
Director Ken Elston talks about his vision and introduces us to the cast and designers of George Mason University’s Department of Theater and School of Music‘s collaborative production of Stephen Sondheim’s Into the Woods. Assisting Director Elston and providing the musical direction is Dennis M. Layendecker, director of the School of Music and University Heritage Chair of Music, who will conduct the Mason Symphony Orchestra.
Ken Elston, chair of Mason’s Department of Theater at George Mason University. Photo by Creative Services.
Joel: Please tell us about The Department of Theatre at GMU and your position.
Ken: Theater at Mason has one of the best undergraduate theater faculties in the country. We offer a BA – with concentrations in Performance, Playwriting and Dramaturgy, Design and Technology and Theater Education. We offer a BFA with similar concentrations with a focus on stage and screen. Theater has partnered with Arts Management to offer an accelerated BA/MA, with Education to offer a post-baccalaureate certification in Theater Education, and we are partnering with the School of Music to create a certificate in musical theater, and I have every confidence that we will have a degree in musical theater in the near future.
I am the Chair of this fine Department, and, besides the curricular advancements outlined above, I have been dedicated to solidifying the relationships between our program, top professionals, and our active and supportive community. Part of that success has been the exciting residency of our new Heritage Professor of Theater, Stacy Keach.
How long have you been at George Mason University?
I have been at Mason for ten years and Chair for 3.
Have you and Dr. Dennis Layendecker, who is the Musical Director of Into the Woods worked together before in productions at GMU?
Dr. Layendecker and I have worked together as colleagues in our capacities as directors within the College of Visual and Performing Arts. The coming musical theater degree will be a product of that successful collaboration. I have always held him in high regard. Into the Woods is the first opportunity we have had to work together as artists, and I could not be happier with that collaboration. He is wonderful, brilliant, supportive, and talented, and he brings a wealth of knowledge, professional experience, and- the most important ingredient – personal investment to the project. He and I are blessed with our entire team of designers, cast, and production staff. I would be remiss if I didn’t mention Professor of Theater, ClaytonAustin, who is our Production Manager, keeps the whole thing moving forward, and Dr. Lisa Billingham, Professor of Music, has been tireless in her vocal coaching and musical support for the project. We have a great team.
How many productions will the Department of Theater present this year and what are they?
We have a terrific season of magic and transformation, including some great guest artists. Check our season schedule.
You are now trying to build a musical theatre studies program at George Mason University? Tell me about that.
Besides the info I provided, we have a terrific Musical Theater teacher in James Gardiner, and he will be directing an all-Sondheim cabaret. Proceeds from that show will support the continuation of that program. Shows are off-campus in December: December 12 at the Northern Virginia Jewish Community Center and December 17 at Signature Theatre. We really value their support of the growth of this exciting program. We are combining the best of Theater at Mason, with the best of the School of Music and the best regional music theater professionals.
Why did you select Into the Woods?
It is one of the greatest musicals written. The masterwork of a master. It is the 200th anniversary of the Grimm Brothers’ Tales, on which the show is based. There is magic, there is transformation, as well as beautiful music and enthralling story.
Take us through the auditions. How many actors auditioned?
We had 180, I think, and called back 53 for 22 roles. Our auditioning pool included theater majors, music majors, and others from across the university.
Were only GMU students allowed to audition?
Yes.
What were some of the surprises you saw in the auditions?
We were happy to find singers who could act and actors who could sing. This is a terrific cast who are also interested and eager for musical theater.”
The ‘Into the Woods’ cast: Rafael Medina (Jack), Alexandra Pool (Red Riding Hood), Kyle Imperatore (The Baker), and Kate Merryman (Cinderella). Photo by Stan Engebretson.
Introduce us to your leads and what roles they play.
We follow several stories that weave together so cleverly:
Cinderella (Kate Merryman), Jack – of beanstalk fame – (Rafael Medina), the childless Baker and his wife (Kyle Imperatore and Cara Pellegrino), the Witch and her stolen Rapunzel (Brittany Martz and Miranda Carver), and Little Red Riding Hood (Alexandra Pool)… and charming princes, evil step-sisters, giants, grannies, and, my own invention, magic makers, to help tell the story.
When you selected them, why did you think they were perfect for their roles?
The musical theater actor is a hybrid powerhouse, and we have some great ones. Besides acting “chops” and musical talent, these students show real vulnerability in thee challenging roles.
What is your vision for this production and what is unique about it?
So many of us remember the beautifully illustrated storybooks of our youth and the happy surprises of a pop-up book, and we are working to capture that in all aspects of our design. The magic makers, who help the narrator tell the story, bring a unique theatricality to the piece, and I think audiences will enjoy seeing the characters go into the woods-literally as well as figuratively.
Introduce your designers and describe the design and how your designers’ work has brought your vision to life.
Howard Vincent Kurtz – Costumer and Professor of Theater and Head of Design brought a world of research and experience of working on the original Broadway show.
Dana Maier – Set Designer and Adjunct Professor of Set Design and Painting brought her style and talent- audiences enjoyed her designs in last season’s Galileo.
Liz Replogle – Lights, is a graduate of our program and she has gone on to be a lighting professional and professor in her own right, and she helped us find the cinematic parallels in style
Nerissa Hart – props – is one of our talented students.
Talk about George Mason University’s Center for the Arts’ space and some of the challenges you are facing in that space and some benefits of performing there.
Center for the Arts is a BIG space, and we are looking forward to filling it onstage and in the house. Our first show is for Fairfax County schools, and the space allows us to invite 2000 people. For me, providing an opportunity for Mason students to perform in each of our stellar venues – from black boxes, to mid-sized proscenium spaces, to this big road house, is important to their professional development and makes our program unique.
What do you want your students to have learned while performing in this production?
That it is all music. That it is all acting. That good storytelling takes specific commitment and a universal artistry.
What is your favorite song and scene from Into the Woods and why?
“Agony” is the comic showpiece, “No One is Alone” is the tear-jerker, but so many of the numbers speak to me, and every character gets a lovely, evocative number. This show gets better and better, the more you know it.
What scene and song were the hardest to direct and why?
I am a movement professional, and a colleague said, “That’s a stand and sing show, isn’t it?” Ours won’t be.
Why do you think Into the Woods is still so popular with modern audiences?
For the same reasons that folktales are timeless, and because a masterpiece never gets stale.
What do you want audiences to take with them after seeing your production of Into the Woods?
Thoughtfulness about love, family, maturity, and I want audiences to fall in love with musical theater at Mason.
Into the Woods plays at George Mason University’s Center for the Arts Concert Hall – located on the Fairfax campus of George Mason University at the intersection of Braddock Road and Route 123, in Fairfax, VA. Performances are on Friday, October 26, 2012 at 8 p.m., Saturday, Oct. 27, 2012 at 2 p.m. and 8 p.m. and on Sunday, Oct. 28, 2012 at 4 p.m. For tickets, purchase your tickets online. Here are directions.
