The first in Soulpepper Theatre Company’s three-part musical celebration of the history of diversity in New York – The Melting Pot pays tribute to Lower Manhattan, from Battery Park to Chelsea. Written and directed by Founding Artistic Director Albert Schultz and included in this month’s Soulpepper on 42nd Street festival at the Pershing Square Signature Center, the concert, featuring original arrangements by Music Director Mike Ross, highlights the contributions of Irish, African-American, and Jewish immigrants to the evolution of the city’s soundtrack, while underscoring the Toronto-based company’s love of New York. Based on the audience’s reaction to the show, I can report that the feeling is mutual.
Albert Schultz. Photo by Cylla Von Tiedemann.
Schultz, who serves as host, opens with a summary of the background of Downtown, from the land’s indigenous Lenape people to the arrival of the international ethnic cultures with their distinctive musical heritages, then provides a running commentary between numbers in the mostly chronological survey of songs from the 19th and 20th centuries. Each segment is illustrated with background projections of period photographs (video design by Laura Warren) that create a mood of nostalgia, and support Schultz’s “Thesis” that “song is memory, and music helps memories.”
Guest artists Laura Neese and Leo Manzari set the theme of New York’s multi-ethnic mix with her Irish step-dancing and his African-American tap, at first performing individually, then alternating, and ultimately coming together in a compatible finale of spectacular rhythm and movement. They are followed by the haunting Hebrew hymn “Adon Olam” sung by Hailey Gillis and accompanied by Jacob Gorzhaltsan on reeds, which acknowledges the Jewish presence on the Lower East Side and its subsequent influence on the future of the city’s music. The African-American emigration from the South to New York is presented by Jackie Richardson, Troy Adams, and Andrew Penner in their impassionate solos and three-part harmony on the traditional spirituals “Deep River” (by JBT Marsh) and “No More,” along with the Delta blues song “Crawling King Snake.” The impact and intermingling of both the Jewish and African-American cultural styles is evident in the rousing rendition of Irving Berlin’s first major hit in 1911, “Alexander’s Ragtime Band ” (with Attila Fias accompanying Schultz on piano), and George and Ira Gershwin’s popular “It Ain’t Necessarily So” from their 1935 opera Porgy and Bess, delivered with conviction by Adams.
Andrew Penner and Mike Ross. Photo by Cylla Von Tiedemann.
Closer to our own time, the post-war focus of the show is on the 1960s, and its commitment to freedom of expression. Penner amps up the volume on Bob Dylan’s acoustic folk classic “A Hard Rain’s A-Gonna Fall” (Dylan spent his early years in NYC in Greenwich Village, after moving from his native Minnesota), transforming it into a hard-rock anthem with high-decibel vocals and a back-up cacophony from the band. Andy Warhol’s second Factory on Union Square is represented in the show by Lou Reed’s 1972 groundbreaking hit “Walk on the Wild Side” (Warhol, himself the son of working-class Slovakian immigrants who realized the American Dream, briefly managed Reed’s band The Velvet Underground from 1965-67). Each verse, chronicling the avant-garde denizens of Warhol’s studio, features a different singer, and Ross cleverly integrates into Reed’s actual chorus the “Flower Duet” from Léo Delibes’ Lakmé (the old Academy of Music, the first successful opera house in New York, was located at 14th Street and Irving Place, and opera records were often played at the old Factory by actor Ondine and photographer Billy Name). Ross and Gillis perform a mash-up of Leonard Cohen’s “Chelsea Hotel” and Janis Joplin’s “Piece of My Heart” (his song was inspired by their encounter there), alternating between his softly poetic voice and her bluesy rock-and-roll.
Bret Higgins on bass and Lowell Whitty on drums lend their fine support throughout the show, as does Andres Castillo-Smith with his clear sound design. The concert concludes with the big sound of Richardson (“Canada’s national treasure”) and the ensemble joining in on a blockbuster rendition of Simon and Garfunkel’s “Bridge over Troubled Water,” bringing us into the 21st century by giving current relevance to the 1970 hit single, and affirming Canada’s friendship and support of New York.
With New York – The Melting Pot, Soulpepper provides not only an hour and a half of musical entertainment, but also a quick educational look at the city’s history and diverse cultural heritage. We look forward to the return of the company with Parts 2 and 3 of the series.
Running Time: Approximately 95 minutes, without intermission.
Mike Ross and Jackie Richardson. Photo by Cylla Von Tiedemann.
New York – The Melting Potplayed through Saturday, July 22, 2017, at Soulpepper on 42nd Street, performing at the Pershing Square Signature Center – 480 West 42nd Street, NYC.
I did not listen to my much-loved soundtrack of Stephen Sondheim’s and James Lapine’s classic fairy tale mash-up before heading off to the John F. Kennedy Center for the Performing Arts to see the Fiasco Theater Production of Into the Woods. I was afraid that reminding myself of how much I loved the original production would keep me from fully appreciating the new one.
As it turns out, I need not have worried. The updated Into the Woods directed by Noah Brody and Ben Steinfeld is so fresh and innovative and so superbly acted that I was immediately swept up in the action and transported to a fairy tale world of witches, bakers, princesses, giants, and mysterious men. From the moment you enter the Eisenhower Theater and spy the gorgeous set by Derek McLand sitting ready and waiting on the stage you will know that you are in for a different type of retelling than the original. Filled with everyday objects that are later put to good use as innovative set pieces (think a dress dummy that becomes a tree and a ladder that serves as Rapunzel’s tower), the set somehow manages to be both opulent and spare at the same time, reminding me of both of my grandmother’s attic and the most beautiful antique store I’ve ever seen.
The Company of ‘Into the Woods.’ Photo by Joan Marcus.
Before the show even officially begins you know the actors are going to make it something special. Casually walking around the stage or strolling through the audience, they develop an instant connection with those who have come to see them. Unlike every other show I’ve ever seen, all of the actors are on stage throughout the entire show, sometimes standing quietly in the background, sometimes playing one of the few instruments used in the show (Bonne Kramer, for example somehow managed to play Cinderella’s step-mother and Jack’s mother and the bassoon) and sometimes transforming themselves into another part right before your eyes. With Evan Rees at the helm as the Music Director and Pianist, the cast took just a handful of instruments and make it seem like a full orchestra was playing.
Many of the characters play more than one role in the show making quick costume changes a necessity and challenging the actors to create several very different personas right in front of the audience’s eyes. I was wondering, for example, how Anthony Chatmon II (so charismatic as Cinderella’s stepsister Lucinda, the Wolf, and Cinderella’s prince…I am totally crushing on this adorable actor) would manage a scene featuring both Lucinda and Cinderella’s prince, but once again this was no problem, as this actor, and all the others, are perfectly capable of playing more than one character at the same time. Similar challenges were successfully tackled by Darick Pead, who managed to play Milky White (yes, that’s right, the cow), Florinda, and Rapunzel’s Prince without missing a beat. The combination of Chatmon and Pead as the dueling princes was another of my favorite parts of the show and with their easy comradery it was easy to believe the two had been trying to outdo each other since childhood.
Speaking of the performances, each of the actors brought something special to this production. Eleasha Gamble’s rendition of the Baker’s Wife paired perfectly with Evan Harrington’s Baker, with Gamble’s “Moments in the Woods” being a high point in the show for me. Harrington and Fred Rose (as the Mysterious Man) made the song “No More” really come alive by literally bringing the song down to the audience’s level.
Vanessa Reseland as the Witch was perfection. Without using the heavy makeup and costuming of the original, Reseland makes the part her own using only the strength of her acting. Laurie Veldheer was just as amazing as Cinderella. This actress has a Jennifer Garner-esque girl-next-door quality that makes her immediately appealing and sympathetic. She uses her charms to full effect in the song “On the Steps of the Palace” where she barely moves from one spot and yet manages to completely engage the audience in her angst and indecision.
The parts of Jack and the Steward were both played by Philippe Arroyo and he did such a good job of differentiating between the two characters that it wasn’t until I read the Playbill that I realized both were the same person. Arroyo’s “Giants in the Sky” was perfectly sung and his relationship with his best friend Milky White is heartwarming.
Lisa Helmi Johanson was perfect as Little Red Ridinghood, a deceptively difficult role, and as poor Rapunzel, kept locked in her tower until she is banished to the desert by the Witch for her transgressions.
One more piece of the show I must mention is the addition of, “Our Little World” sung by Johanson as Rapunzel and Reseland as the Witch. (The song was introduced in the 1990 West End Production). This beautiful song pulled at my heartstrings as the mother of a preteen and is the perfect foil for the “Witch’s Lament” later in Act II.
With very few set changes but several different settings to convey, changes in location and mood often fall to Lighting Designer Christopher Akerlind, who has nailed the use of lighting to transmit a feeling of place. In one scene in Act II that took my breath away, the lighting perfectly showcased Reseland’s performance of “The Last Midnight” and as the show descends deeper into its darker themes, the lighting works with the actors to take the audience to the darker place.
The sound design by Darron L. West as I have never been to a show with clearer, crisper, sound. Every word out of the actor’s mouths is audible and understandable. This is not a show where you will be saying, “What did he say?” to your companion or straining to hear what the actor said. Instead you’ll be able to relax and enjoy the full effect of Sondheim’s poignant and often hilarious lyrics.
I realize I am gushing over this production and it deserves to be gushed over. I could go on and on about the merits of this show but instead I encourage you to see it for yourself. Don’t hesitate to make the trip to the Kennedy Center to see Fiasco Theater’s Production of Into the Woods. It is likely to be the theater highlight of your year.
Running Time: Two hours 45 minutes, including a 20-minute intermission.
Recommended Ages: 8 and up.
Into the Woods plays through January 8, 2017, at the Eisenhower Theater at the John F. Kennedy Center for the Performing Arts– 2700 F St NW, Washington, DC. For tickets, call (202)-467-4600, or purchase them online.
Tick, Tick…BOOM!, as directed and choreographed by Jillian Locklear Bauersfeld, and with Book, Music and Lyrics by the late Jonathan Larson, was an insightful semi-autobiographical and musical journey. Larson, famous for writing the Pulitzer Prize winning musical Rent, wrote Tick, Tick…BOOM! to vent his disappointment about the failure of his earlier work, Superbia, a musical version of George Orwell’s 1984.
Garrett Zink (Jon). Photo by Chris Aldridge/CMAldridgePhotography.
In its essence, Tick, Tick…BOOM! is about the twin anxieties of reaching the milestone age of 30 and being an artist in search of a first hit. In the show, Larson took the form of struggling musical playwright and composer Jon (Garrett Zink), a high-strung, composer Stephen Sondheim-worshipping, 29-year-old, in the year 1990, who lamented that he’d been a promising composer for so long “I have broken the promise.” Pacing around his SoHo apartment, he wondered if his show was “good enough for Broadway.”
Jon, his dancer girlfriend Susan (the outstanding Clare Kneebone), and Michael, an actor-turned-market-research-executive (Rob Wall) powerfully sang “30/90,” about the challenges of the first three decades of life.
The up-tempo, doo-whoppish “Green Green Dress,” sung by Zink and Kneebone moved the story forward, passing through Jon and Susan’s young couple problems, including Susan’s desire to move to Cape Cod. Kneebone’s vivacious vocals then fueled “Johnny Can’t Decide.”
Michael’s story arc included meeting best friend Jon at Camp Showanda at age eight, becoming a talented actor, and then ditching a life in the performing arts for a career in marketing, an elegant apartment and a BMW motor-car.
In “No More,” Wall and Zink sang about the joys of no more “walking up six flights of stairs, and carrying laundry for 13 blocks (One could see portions of Rent floating through this part of the storyline). Both men cut a rug good enough to make John Travolta proud.
L to R: Rob Wall (Michael), Garrett Zink (Jon), and Clare Kneebone (Susan). Photo by Chris Aldridge/CMAldridge Photography.
Susan and Michael’s relationship back-and-forths, and ups-and-downs led to the excellent “Therapy,” which featured a country-music feel and insightful-lyrics like “What I thought, about what you thought.”
After Jon’s fiasco of a guest brainstorming session, done as a favor, at Michael’s marketing firm (in which Jon suggested a new product called “Chubstitute”), Wall, Zink, and Kneebone harmonized nicely on “Real Life.”
Wall and Kneebone played the characters Counter Guy, and Karessa, a Superbia cast member, respectively, as they sang “Sugar” with Zink; the scene was based on Jon’s sugary snack run at a store and his encounter with Karessa, his forbidden crush.
“See Her Smile,” by Jon, Susan and Michael expressed Jon’s emotional lament to see Susan happy again. Michael made a startling reveal to Jon; Susan made a big decision about her future, and Jon finally celebrated his birthday, after which Jon sang the soulful “Why.” “Louder Than Words,” sung by the three vocally talented cast members was upbeat and featured dazzling dance moves.
I loved the musical direction and keyboarding of Michael W. Tan and Greg Bell’s Bass playing. Costume Designer Andrew Malone dressed Susan in dazzling dresses and sexy bedroom attire.
With its fantastic cast, Spotlighter’s Tick, Tick…BOOM! was a well-performed peek into the mind and insecurities of an incomparable artist who produced a timeless classic.
The Good Counsel Theatre Company(GCTC) tackled Into the Woods, with Lyrics and Music by Stephen Sondheim, and Book by James Lapine, this spring. The show is a famous mashup of fairy tales derived from The Brothers Grimm, showing what happens after happily ever after. Director Kristina Friedgen leads the troupe through this wildly entertaining show.
The show is an epic of sorts that tracks several famous fairy tale characters as they go into the mystical woods in search of everything from a golden slipper to enough money to feed their family. More well-known characters include Little Red Riding Hood (Schuylar Johns), Jack of Jack and the Beanstalk (Luke Amato), and Cinderella (Hailey Giddings) & Co. An ensemble show, Into The Woods focuses on the intertwining of these fairy tales in a quirky and adventurous way. While this story starts off in a lighthearted manner, following these characters’ on their paths to happily ever after, the story takes a dramatic turn as Sondheim reveals that not even fairy tales are as clear cut as you may have assumed.
There are many songs in the first act in Stephen Sondheim’s Tony Award-winning score. Many of the 19 songs have fun and clever lyrics, and they are all expertly performed by this talented cast.
The job of any orchestra is not an easy one but the hidden 11-piece orchestra, led by Conductor Dr. Richard Slocum, deserves congratulations. Although there is not enough time to go through every musical number, I have to applaud several actors for their musical feats. Seniors Hailey Giddings and Darien Williams (Cinderella and Cinderella’s Prince/Wolf respectively) in many ways stole the show with Giddings’s exciting talent for reaching out into the audience with her amazingly strong vocal abilities. Similarly, Williams’s portrayal of two characters that often get pushed to the side brought them to center stage. A sufficiently creepy Wolf and an agonizingly arrogant Prince Charming kept the audience laughing throughout the show. Although the cast seemed to be clumped together on stage in somewhat distracting ways during numbers that featured the whole company, most main ensemble members found their own way to stand out with only small issues during the Act I Finale: “Ever After.”
Cast members of ‘Into the Woods.’ Photo courtesy of Good Counsel Theatre Company.
While the cast entertained throughout the first act, they really excelled post-intermission. Junior Patrick Ehrman had his best moment during his song “No More” as the dejected and defeated Baker. However, Ehrman was not the only actor to find his or her moment in the second act. Sophomore Cheyanne Parks showed off her lovely voice and strong performance ability as the Baker’s Wife during “Moments In The Woods,” making her death by giant even more crushing (as it were) for the audience. Throughout the play, Giddings’s Cinderella was much more down to earth than expected making me even more invested in what she had to say during her heartbreaking performance of “No One Is Alone.”
Overall the actors made the show work for them and deserved the applause received after the stirring finale number “Children Will Listen” which interestingly featured deceased characters, positioned in ways that suggested that in their deaths they had been absorbed by the woods themselves.
A quasi in-the-round seating arrangement allowed the audience to be spread around more than one side of the stage, thus freeing up the actors to have fun and orient themselves in a manner of ways. The production’s set and scenic design by Elizabeth McFadden, Kristina Friedgen, and Gina Sinha (constructed by David Petrocci) really sparkled as it found its footing in a very minimalistic style. The use of raised platforms as a means of separating the main ensemble members in their respective fairy tales worked magically, giving the separate stories worlds of their own.
One very interesting aspect of the show’s scenic design manifested in people—yes people. The trees came to life as actors in very weird (in the best sense of the word) black and white costumes held tree limbs, flowers, and various other props. The decision to animate the otherwise silent aspect of Into The Woods successfully gave the important character of the woods itself a material and fluid presence on stage. The actors that made up the trees interacted with the main ensemble, moving with the music and accenting blocking choices nicely. I thoroughly enjoyed the ever-increasing participation of the trees as the show went on, coming to a head during “Your Fault” as they directed focus to those being accused in the moment, ending up in a confused disarray as the distinctions of who’s to blame become blurred.
Overall the set design and scenic choices although minimal, took center stage in my experience of this show. I, unfortunately, could not see very much of the far upstage portion due to my position in the audience, which granted is an almost unavoidable consequence of the interesting format of the stage. Perhaps some form of risers would assist those in the back to have the full experience of such an original set.
Another aspect of the design that caught my eye had to be the costume design by Rosemary Pardee Slocum. While I thought that everything from Cinderella’s ball gown drenched in sparkles to the Baker’s Wife’s simple rags added just what the show needed, I have to give my biggest appreciation to the suit worn by the sly Wolf (played by Darien Williams) as he plots his greatest meal. I feel it is important that I also shout out to the wonderful lighting design by Laurie Bautista and Jaclyn Troutner. From the Act I Prologue the design aspects come together to from a mystical world, underlined by a darkness that comes to light as the story continues on.
The audience’s moments in the woods were immersed in a metaphysical theatrical experience due to daring design and energetic actors. The Good Counsel Theatre Company should be proud of this production and I hope to see much more from these talented students in the future.
Kat Mullineaux is an English major and first year student at The University of Maryland at College Park. Her theatre experience over the past five years includes a wide range of positions including, but not limited to Production Stage Manager, Playwright, and actress over the course of fourteen different productions in and around the DC Metro Area. Kat enjoys and appreciates the backstage heroes that allow the show to go on in every production she has the pleasure of participating in or witnessing.
Are you ready to veer from the path and take another tumultuous journey Into the Woods? Go ahead, throw caution to the wind. You’ll find yourself in amusing company at Toby’s—The Dinner Theatre of Columbia.
The cast of ‘Into The Woods.’ Photo by Jeri Tidwell.
As good as last year’s film version looked and sounded, it didn’t always put across the good humor of the original 1987 Tony-winning musical. At Toby’s, comedy is back as a major player.
Audiences love to watch these familiar nursery tales taken to the wood shed in a thoroughly literate mash-up. Cinderella, Rapunzel, Red Ridinghood, Jack (of Beanstalk fame), and several others are dropped in a whirring Cuisineart of melody, meaning and endless wordplay by puzzle-maestro Stephen Sondheim and his collaborator-in-chief, James Lapine.
You might be struck like I was at how often the sound of delighted laughter dogs the heels of these archetypal characters. Maybe it is, as the Witch sings to one of them, “You’re so good, you’re so nice.” It’s a pure guiltless pleasure watching them driven out of their mother-lovin’ comfort zones.
Toby Orenstein and Mark Minnick have teamed up for the staging of yet another surefire crowd-pleaser in Howard County.
Getting things rolling on a very high level are Toby’s veterans Jeffrey Shankle and Priscilla Cuellar as the Baker and his Wife. Shankle and Cuellar both have precise and musical singing voices, shown to excellent advantage in their duets and solos “It Takes Two,” “No More” and the lovely “Moments in the Woods.”
The dynamic pair’s seasoned comedy timing and dramatic nuance make them perfect as the barren married couple who will literally do anything to have a child. A neighborhood Witch sets them off on a quest to break their spell of infertility, giving what follows added poignance to modern-day moms and dads.
Also having a bad time on the edge of the forest is Cinderella, who finally gets her chance to go the king’s festival only to end up being chased into the woods by a determined (but not-too-sincere) Prince Charming. As Cinderella, Julia Lancione shows a spot-on sense of absurd comic timing with “On the Steps of the Palace,” then turns around to reveal the most outstanding voice of the evening in the moving anthem “No One Is Alone.”
Little Red Ridinghood is another gem of a comedy role, and Sophie Schulman gets it in a chokehold and doesn’t let go. In Schulman’s interpretation, Little Red emerges from her experience in the belly of the big, bad wolf as a born-again survivalist, a pint-sized spitfire waving a Bowie knife in the face of all perceived threats.
It’s wonderful to see Janine Sunday back in a leading role at Toby’s. As the Witch here, this multiple Hayes Award nominee will make you forget Streep and Peters with the magic spell of her powerful voice in “Stay With Me” and “Children Will Listen.” Best of all is her spine-tingling tantrum in “Last Midnight,” the most histrionic meltdown of a witch since Margaret Hamilton.
Other show-stopping highlights include the solo “Giants in the Sky” by Jimmy Mavrikes as Jack; “Hello, Little Girl” by Lawrence Munsey as the Wolf; and the always surefire princes’ duet “Agony,” sung with over-the-top brilliance by Justin Calhoun and Jonathan Helwig as the two commiserating narcissists.
Priscilla Cuellar (The Baker’s Wife). Jeffrey Shankle (The Baker), and Janine Sunday (The Witch). Photo by Jeri Tidwell. Courtesy of Toby’s Dinner Theatre.
Russell Sunday plays the Narrator in formal wear with tails that make him appear a bit like a circus ringmaster — not a bad association considering the three-ring antics of the plot. Sunday, another past Hayes Award nominee, could get some of his narration out there front and center more forcefully, especially in the early scenes. But fear not, he does get to unleash that big voice of his to outstanding effect in “Ever After” and “No More.”
Jane C. Boyle as Jack’s peasant mother; Katherine Riddle as Rapunzel; Marykate Brouillet and Katie Keyser as Cinderella’s stepsisters; and Heather Marie Beck as the mean stepmother herself all add flawless support to the comical storytelling and first-rate ensemble singing.
Finally, I can’t end the review without mentioning the contribution of Alex Beveridge as Milky White, the sad-sack cow with its ribs showing, its drooping disgrace of an udder, a hump like a camel and yet dominating all with acres and acres of attitude.
Greg Knauf conducted the live pit orchestra the night I attended, setting a good pace and finding just the right blends of instruments to add richness to Ross Scott Rawlings’ orchestrations.
Lighting design plays a heavy role in this theater-in-the-round staging. The under-sung Lynn Joslyn helped evoke all of the action’s fanciful settings with no strain showing at all.
The gorgeous fairy tale costumes by Eleanor Dicks had us drinking in every detail. And those magical woods and other assorted scenes were all resourcefully suggested by David A. Hopkins’ Set Design.
At end we left thoroughly enchanted, dropping a trail of breadcrumbs behind us in case we decided to make our way back. This is a journey you don’t want to miss!
Running Time: Approximately 2 hours and 45 minutes, including one 20-minute intermission.
Into the Woods plays through September 6, 2015 at Toby’s the Dinner Theatre of Columbia— 5900 Symphony Woods Road in Columbia, MD. Reservations are required at (301) 596-6161, (410) 730-8311 or 800-88TOBYS , or purchase them online.
These guys got lost in the woods and some witch told us where we could find them-so in between battling witches, wolves, and giants and before they packed up their magic beans and white cows, these two lost souls finally shared their journey of preparing for their roles in this popular Stephen Sondheim musical.
Joel: Why did you want to be part of this production of Into the Woods? What did you sing at your audition?
Danny Tippet.
Danny: It’s always exciting to work with a new company! This is NextStops inaugural season so I was excited to be a part of that.
Scott: The show is one of my favorites, and I had heard really good things about the artistic team involved. I chose to sing “I’ve Never Been in Love Before” from Guys and Dolls for the initial audition.
Who do you play in the show and why did you want to play this character?
Danny: I play the Steward. He has some pretty funny one liners, and I get to kill someone in Act II which is always a good time.
Scott: I play Cinderella’s Prince/Wolf, who has been on my list to play for a while. This is the first chance I’ve had to play this type of character so it was going to be a new/exciting experience for me. I think there are a lot more layers to the Prince than one sees initially, and I was excited to explore them all through the process.
How do you relate to your character?
Danny: The Steward is very sassy, which I am as well. He’s the Prince’s right hand man, I am an Executive Assistant for the CEO of a company which is basically the same thing right?
Scott: It’s been really eye-opening to explore the similarities between the Prince and I in the sense of what facades or masks he uses. Being an introvert/recovering shy-person by nature, I’ve had to sometimes hide behind the proverbial mask to learn to function in certain ways, and applying that type of mentality to the Prince has given me an interesting connection.<
Have you appeared in any other productions of Into the Woods and who have you played? If you have played your character before how is this performance similar or different?
Danny: This is my third production of Into the Woods. I played Jack in college, and Cinderella’s Prince/The Wolf a few years ago. This is actually the third time Priscilla and I have done the show together
Scott: I played the Baker in a production this past September at the Annapolis Summer Garden Theater. It’s been a great experience getting to prepare two different roles in the same show with that short of a time span in between the two productions.<
Have you worked with any of your castmates before?
Danny: Priscilla Cuellar and I have worked together many times, and John Loughney and I did a production of The Rocky Horror show a couple years back.
Scott: Sean McComas and I did a staged reading of the play 8 two years ago with the Bay Theater Company where we played twins. I was excited to see we were working together again.
Which character in the show is most like you and the least like you and why?
Danny: I guess The Steward is probably the most like myself. And the Witch is probably the least like me, she’s on a mission to get what she wants and doesn’t really care who she hurts in the process.
Scott: In all honesty, I’m a lot like Jack in more ways than I’d probably like to admit.
Tell me about the solos/duets you sing and what we learn about your characters when you sing the song? I don’t sing any solos or duets in the show.
Scott: My main duets in the show, “Agony,” are sung by both Princes. You get a pretty solid idea of their relationship through the song and its reprise. My other two songs, “Hello Little Girl” and “Any Moment” are actually very similar musically and in what they reveal character-wise.
What do you admire most about your castmates performances?
Danny: Everyone is great in the show and super invested in creating this world of Fairy Tale people in as honest and realist way as possible. And I always love hearing Priscilla sing the songs in this show. She brings such a richness to the character with her acing and vocal abilities.
Scott: There is so much talent in this group, and everyone so far has been very willing to experiment with it. Evan has given us a lot of directions in rehearsal that cause us to explore and experiment, and I’ve been really impressed with how everyone has been able to both work with the direction and then glean some great insights from it.
Sondheim’s lyrics are brilliant in Into the Woods. What are your favorite lyrics that you sing and your favorite lyrics that someone else sings?
Danny: I get to sing “The Closer to the family the closer to the wine!” which is so true for many of us! We all sing this line in Ever After and I think its a great motto for life “Don’t be careful, don’t be clever. When you see your wish, pursue.”
Scott: It’s a dangerous endeavor, But the only thing to do-” I think its important to go after what you want!”
What is your favorite song that you don’t sing in the show and why?
Danny: I really like “On the Steps of the Palace,” because I think its such an amazing song lyrically and musically. It’s always been my favorite that or “Moments in the Woods.”
Scott: I honestly can’t pick a favorite line of mine, the lyrics in this show are just that clever and witty. I do find the line “Stay with me, the world is dark and wild” stuck in my head a lot though, I think it’s really simple but poetic, and the melody stings in the right way.
How can audiences in 2014 relate to Into the Woods now?
Danny: I think the show resonates with people because we all have struggles, we all are on a journey to get something or be something etc. We have all in our lives at one point or another had to make choices that have affected the rest of the journey just as the characters in the show have.
Scott: There are so many things the audience can draw from in this show, which is why it’s one of my favorites. The core messages surrounding relationships are something that I think are timeless, but especially relevant in an age when the “non-traditional” family structure is (finally, and thank God) becoming more and more prominent and accepted. The concept of what loving, selfless relationships really look like (and vice versa) and what effect they can have is a really beautiful theme to me.
Why do you think Into the Woods is still so popular today?
Danny: I think Sondheim and Lapine have written a show that is so accessible to people with the stories they chose to tell,the songs and words they have used to tell it with and who doesn’t love Fairy Tales?
Scott: These characters and themes are all so timeless, and when you put this kind of twist on them, they can effectively speak to disparate generations at the same time.
What is the best advice Director Evan Hoffmann and/or Musical Director Elisa Rosman gave you in preparing for your performances?
Danny: Evan reminds us to play the honestly of the situations we’re all in throughout the show, yes there are lots of fantastical magic outrageous moments but they all come from real situations so we’re focusing on playing that. Elisa has been great at working on our enunciation because the words are soo important in this show.
Scott: I’ve mentioned how Evan will give us direction intended to help us explore; there was a blocking rehearsal for “Agony” where Scott Harrison (playing Rapunzel’s Prince) and I were told to “not deign to look at each other.” So many discoveries were made.
Cast of ‘Into the Woods.’ Photo by Traci J Brooks Studios.
Why is this production so special?
Danny: I think it’s special because of the concept the designers have come up with. I don’t want to give anything away. But I think its going to be pretty cool!
Scott: This cast is finding wonderful, unique takes on their characters, and the entire concept is something I don’t think this area has seen with this production.
What do you want audiences to take with them after seeing Into the Woods?
Danny: “If life were only moments, even now and then a bad one, but if life were only moments then you’d never know you had one” Enjoy all the moments in your life, not just the really great ones or the really crap ones. Enjoy all the moments in the middle that make life so wonderful.
Scott: “Witches can be right, and Giants can be good.”
Into the Woods ended its critically acclaimed run on June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA.
In between battling witches, wolves, and giants the cast of NextStop Theatre Company’s Into the Woods shared with us their journey of preparing for their roles in this popular Stephen Sondheim musical. In Part 6: Suzanne Stanley and Ryan Manning.
Suzanne Stanley.
Joel: Why did you want to be part of this production of Into the Woods? What did you sing at your audition?
Suzanne: NextStop Theatre seemed like a great, up-and-coming company to work for, and I have always loved Into the Woods.
Ryan:I was very excited to be a part of the inaugural season of this new company doing one of my favorite shows.
Who do you play in the show and why did you want to play this character?
Suzanne: I play Rapunzel, which is such a fun role! She gets to sing a beautiful little air in the first act, and then she goes a little crazy in the second.
Ryan Manning.
Ryan: I play the Narrator. I didn’t know that I specifically wanted to play this character, but I’m very excited now that I am.
How do you relate to your character?
.Suzanne: We both love to sing and play with our hair, but the similarities stop there! I, personally, have never had to escape from a tower in order to follow my true love.
Ryan: I think he’s very much the observer and yet also a part of the story. I think we can all relate to the feeling of being on the outside looking in.
Have you appeared in any other productions of Into the Woods and who have you played? If you have played your character before how is this performance similar or different?
Suzanne: I played the Witch in high school, which is a role I will not play again any time soon! Our production is more honest, and the characters, although fanciful, experience problems that are very real.
Ryan: Yes! While I was still in college I did the show at Kensington Arts Theatre. I played Rapunzel’s Prince.
Have you worked with any of your castmates before? Suzanne: No, because I am new to the D.C. area from Oklahoma City!
Ryan: Yes, I’ve had the pleasure of working with John, Katie, Jacki, Jen, and Blake before.
Which character in the show is most like you and the least like you and why?
Suzanne: I am most like the Baker’s Wife, because she is very family oriented but still adventurous. I am least like the women of the stepfamily, because I do try not to be so evil.
Ryan: Most like – probably the Baker and least like, probably the Prince.
Tell me about the solos/duets you sing and what we learn about your characters when you sing these songs?
Suzanne: Rapunzel’s theme song tells the audience that she has had lots of time in a tower to practice singing, but apparently too little time to think of another song!
Priscilla Cuellar (The Witch)and Suzanne Stanley (Rapunzel). Photo by Traci J. Brooks Studios.
Ryan: I have more to say than to sing…! Just a short bit of singing in the Act One finale.
What do you admire most about your castmates performances?
Suzanne: Many of us have done this show before, but everyone seems to be tackling it with fresh eyes this time around. People are taking chances and exploring the true wants and needs of their characters.
Ryan: Everyone is very committed and I’m thrilled to be watching them through this rehearsal process.
Sondheim’s lyrics are brilliant in Into the Woods. What are your favorite lyrics that you sing and your favorite lyrics that someone else sings?
Suzanne: Rapunzel sings “Ahhh” exclusively, but I love the lyrics in “Giants in the Sky,” specifically, “And you scramble down and you look below and the world you know begins to grow: The roof, the house, and your mother at the door. The roof, the house, and the world you never thought to explore. And you think of all of the things you’ve seen and you wish that you could live in between, and you’re back again only different than before.” Jack learns, if only for a moment, that you don’t have to go so far to find meaning and answers in life.
Ryan: That someone else sings: Bakers Wife: “You may know what you need, but to get what you want, better see that you keep what you have.”
What is your favorite song that you don’t sing in the show?
Suzanne: “Moments in the Woods.” Although every character’s story can be grounded in reality, the Baker’s Wife’s story is the MOST real, and the audience gets to listen in on her private thoughts in this funny, sad, and sincere song.
Ryan: “Last Midnight” cause it is high drama and Priscilla {Cuellar] can kill it.
How can audiences in 2014 relate to Into the Woods now?
Suzanne: The characters are ancient, but their challenges are timeless.
Ryan: I think it’s easily relatable for us now and how we view our parents, children, and families, and how those views shape is for the rest of our lives.
Why do you think Into the Woods is still so popular today?
Suzanne: Everyone wants to see the dark side of fluffy fairy tale creatures!
Ryan: The music is brilliant and the story is a classic!
What is the best advice Director Evan Hoffmann and/or Musical Director Elisa Rosman has given you in preparing for your performance?
Suzanne: Be honest.
Ryan: Don’t play the comedy, and root your performance in the truth of the story.
Why is this production so special?
Suzanne: Many productions of Into the Woods focus solely on getting laughs, and lose the meat of the story. We are striking an unusual balance between humor and heart.
Ryan: It has such a great cast, artistic team telling one of Sondheim’s best.
What do you want audiences to take with them after seeing Into the Woods?
Suzanne: None of the characters in the show can be taken at face-value, and I hope audience members are able to apply some of that discovery to their own lives.
Ryan: Have fun and tell your friends!!
Into the Woods plays through June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA. For tickets, call the box office at (866) 811-4111, or purchase them online.
In between battling witches, wolves, and giants the cast of NextStop Theatre Company’s Into the Woods shared with us their journey of preparing for their roles in this popular Stephen Sondheim musical. In Part 5: Meet Priscilla Cuellar.
Priscilla Cuellar.
Joel: Why did you want to be part of this production of Into the Woods? Who do you play?
Priscilla: I play the Witch. I got the opportunity to play this part before at Redbranch theatre. It was several years ago and I felt that I could look at it in a different light this time around. As an actor you always want to try to improve your work and I thought this was a perfect opportunity to do that.
How do you relate to your character?
Well, the witch is not the nicest person. She is bitter and angry and I’d like to think I’m neither of those things. However, there is one aspect of her that I do understand. In the play she has a daughter she is extremely protective of. In that way we are similar. I can, at times, be overly protective of my close friends and family. But it’s all out of love!
Have you appeared in any other productions of Into the Woods and who have you played? If you have played your character before how is this performance similar or different?
This will be my 4th time being in Into the Woods. Did I mention I love this show? My first time was at Montgomery College and I played the Stepmother. Second, at Signature where I played a stepsister. And third time, as I mentioned before, I played the Witch at Red Branch Theatre. As I get older I can appreciate a role like the Witch more. Lyrics and lines that meant one thing to me before, mean something completely different this time around.
Have you worked with any of your castmates before?
I’ve worked with a couple castmates before. Danny Tippett, who plays the Steward, and I have done a ton of shows together. We just wrapped up Spamalot at Toby’s. And I was in The Full Monty at Keegan Theatre with John Loughney, the baker. I am enjoying working with and getting to know the rest of the cast.
Which character is most like you?
I would say the character that is most like me at the moment would be, Cinderella. For one, she’s clumsy. And that’s totally me. She is a little all over the place and very indecisive. She thinks she knows what she wants, but then changes her mind and changes it again. I have those problems a lot. I think things through, sometimes too hard or not enough, and then end up talking myself out of something or just confusing myself even more.
Tell me about your solos and what we learn about the witch as you sing them.
I sing, or speak in rhythm, in the “Witchs Rap” in the opening sequence. It pretty much tells everything you need to know about the Witch. How she came to be in the woods. Where she came from and where she is going. I also sing “Stay with me” which is a ballad she sings to her kidnapped daughter Rapunzel. It’s about the dangers of the cruel world outside her tower. This is one of the few moments we get to see a softer and more human side of the witch . The “Lament” is sung after the death of her daughter where you can see that the Witch feels she has failed as a mother and was not able to protect her child. And finally “Last Midnight”, which is probably my favorite to sing. You can see different levels of anger and frustration build and build into ultimately maddness.
What do you admire most about your fellow castmates?
I think each of them is so unique and wonderful. Each of them has a different take on these characters that I haven’t seen before. They are all awesomely talented!
What are your favorite Sondheim lyrics in the show?
There are so many! How can I choose only two? Of the lyrics I sing, my favorite comes from “Stay with Me: I sing “Princes wait there in the world, it’s true. Princes, yes, but wolves and humans too.” Another favorite line that I don’t sing is a song the Bakers Wife sings:”Oh if life were made of moments, even now and then a bad one! But if life were only moments , then you’d never know you had one.”
What is your favorite song that you don’t sing in the show?
My favorite song that I don’t sing is “Moments in the Woods.” It’s the same song my favorite lyrics are from. I love the message and the way Sondheim uses and arranges the lyrics is simply brilliant.
How can today’s audiences relate to Into the Woods?
In this show all the characters are wishing and wanting something. Which is what prompts all of them to go into the woods to begin with. I think people can relate to this piece because everyone wants something. Everyone has or has had something in life that they are willing to do almost anything to get.
Why is the show still so popular?
Everyone loves Fairy tales! I think the show is still so popular because it’s just so well written. No matter how many times you’ve heard it, there’s also something new that you hadn’t noticed before. And I can’t say enough how brilliant the lyrics are.
What was the best advice or suggestion that Director Evan Hoffman and Musical Director Elisa Rosman gave you when you were preparing your performance?
A couple rehearsals Evan had us play our parts from one extreme to the other. It was helpful in discovering the different emotions and what moments we could go to those extremes. Elisa is great! Always on us about diction and cut-offs. Which is super important for this show.
John Loughney (The Baker), Katie McManus (The Baker’s WIfe), and Priscilla Cuellar (The Witch). Photo by Traci J Brooks Studios.
What makes this production of Into the Woods so unique?
Well, Kathie Lee {Gifford, the voice of the Giant’s angry wife) of course! I think the set is really neat and a different take on the show than what the norm is for his show.
What do you want audiences to take with them after seeing this production of Into the Woods?
Hopefully an entertaining evening! Perhaps a different take on these fairy tale characters that people know so well. I think a big message in this show is that sometimes what you think you want or need, isn’t always what’s best. No matter what life throws at you, anyone can overcome any obstacle. And just because it may not be what you planned, you can still live happily ever after!
Into the Woods plays through June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA. For tickets, call the box office at (866) 811-4111, or purchase them online.
In between battling witches, wolves, and giants the cast of NextStop Theatre Company’s Into the Woods shared with us their journey of preparing for their roles in this popular Stephen Sondheim musical. In Part 4: Meet Katie McManus.
Katie McManus.
Joel: Why did you want to be part of this production of Into the Woods?
Katie: I’ve worked with Evan before (Great American Trailer Park), so I was hoping I could snag a part in Into the Woods. I knew he’d put his own spin on the production.
What did you sing at your audition?
I sang “Days of Plenty” from Little Women.
Who do you play in the show and why did you want to play this character?
I play the Baker’s Wife. I like her wit, perseverance, and vulnerability.
How do you relate to your character?
She doesn’t wait for others to do what needs to get done; she does it herself. I think she’s always trying to do the right thing; to be helpful, to be fair, to be nurturing.
Have you appeared in any other productions of Into the Woods and who have you played? If you have played your character before how is this performance similar or different?
I played the Baker’s Wife in Little Theatre of Alexandria’s production back in 2006 (with my now-Baker, John Loughney). I have 8 years more wisdom and life experience for this Baker’s Wife.
John Loughney (The Baker), Katie McManus (The Baker’s WIfe), and Priscilla Cuellar (The Witch). Photo by Traci J Brooks Studios.
Have you worked with any of your castmates before?
In addition to John Loughney, I’ve worked with Jennifer Lambert, Ryan Manning, Jacki Young, Blakeman Brophy, and Laura Fontaine. (And I’ve worked with Evan, Elisa, and Joan before, too.)
Which character in the show is most like you and the least like you and why?
Most: Probably the Baker’s Wife. Least: The Princes?
Tell me about the solos/duets you sing and what we learn about your characters when you sing the song (s).
The Baker’s Wife “main” solo, “Moments in the Woods,” follows her questionable encounter with Cinderella’s Prince. Through this solo/soliloquy, my hope is to show the audience that she does, in fact, realize she has done something wrong; but that she was “caught up in the moment” and made a poor choice. “It Takes Two,” a duet with her husband, shows that this couple truly loves and deeply cares for each other, despite their (somewhat constant) bickering and arguing.
What do you admire most about your castmates performances?
Everyone is there because he/she loves the show and the story that’s being told. It’s 100% evident..
Katie McManus (The Baker’s Wife) and John Loughney (The Baker). Photo by Traci J. Brooks Studios.
Sondheim’s lyrics are brilliant in Into the Woods. What are your favorite lyrics that you sing and your favorite lyrics that someone else sings?
Favorite lyrics of my own character: “If life were only moments, then you’d never know you had one.” My favorite lyrics of someone else are “someone is on your side.”4
What is your favorite song that you don’t sing in the show and why?
“Steps of the Palace.” Well, and No One is Alone. Toss up. I love “Steps of the Palace” for its ingenious lyrics and storytelling. I love “No One is Alone” because of its beautiful melody and message.
How can audiences in 2014 relate to Into the Woods?
With so much on TV and in movie theaters now (Grimm, Once Upon a Time, the upcoming film version of Into the Woods, any Disney movie, then and now), it’s inevitable most of your audience will relate.
Why do you think Into the Woods is still so popular today?
I think (I hope) we’ve all grown up with fairy tale stories, whether it’s those of Grimm or Hans Christian Anderson or Disney. I think ALL of these characters and stories are familiar to everyone.
What is the best advice Director Evan Hoffmann and/or Musical Director Elisa Rosman has given you in preparing for your performance?
To be curious about the character; to have fun, play around. That’s always what you want to hear as an actor.
Why is this production so special?
Being with the right cast and the right team at the perfect time.
What do you want audiences to take with them after seeing Into the Woods?
I want the audience to empathize with every single character in the show. There are always perceptions of who’s bad and who’s good, but there is good in all of them.
Into the Woods plays through June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA. For tickets, call the box office at (866) 811-4111, or purchase them online.
In between battling witches, wolves, and giants the cast of NextStop Theatre Company’s Into the Woods shared with us their journey of preparing for their roles in this popular Stephen Sondheim musical. In Part 3: Meet Alizon Reggioli.
Alizon Reggioli (Cinderella’s Mother and Granny). Photo courtesy of NextStop Theatre Company.
Joel: Why did you want to be part of this production of Into the Woods? What did you sing at your audition?
Alizon: I’m a huge Sondheim fan and when I saw the posting for the audition, I immediately went through my rep to see what I could offer. All I had ready was “You Could Drive a Person Crazy” [from Sondheim’s Company] so I sang that as if I were Cinderella’s step-mother, upset about a dirty house.
Who do you play in the show and why did you want to play these characters?
I play Cinderella’s Mother and Granny. it’s such fun to play two distinctly different characters in one show.
How do you relate to your characters?
I can relate to Cinderella’s mother as a mother myself, you always want the best for your child and Granny -well, no one likes to feel threatened…
Have you appeared in any other productions of Into the Woods?
No, this is my first, and it’s thrilling!
Have you worked with any of your castmates before?
No, and they’re all so talented, so I’m honored to be a part of this cast.
Which character in the show is most like you and the least like you?
The Wolf. I mean, who doesn’t enjoy “talking to your meal”?
Tell me about the songs you sing.
I sing mostly ensemble music and it’s glorious.
What do you admire most about your castmates performances?
Even when my collegaues try not to be funny, they are. There are many poignant moments in this show and it’s impressive to see how seemingly effortless these scenes are tackled by this impressive group.
Sondheim’s lyrics are brilliant in Into the Woods. What are your favorite lyrics that you sing and your favorite lyrics that someone else sings?
My character:”Opportunity is not a lengthy visitor” Another: “Dwarfs are very upsetting.”
What is your favorite song that you don’t sing in the show?
One of my favorites, because let’s face it, the whole show’s a gem, is “On the Steps of the Palace.” It’s wonderfully fun to sing, the rhymes and text are amazing, but it’s also very very tricky, which keeps the singer engaged.
Alizon Reggioli (Granny) and Little Red Riding Hood (Nora Palka).
How can audiences in 2014 relate to Into the Woods now?
Shakespeare’s characters always went into to the woods to solve their problems. It’s a timeless convention. We all have issues to confront and we all need to leave our comfort zones to find our own metal. “Isn’t it nice to know a lot, and a little bit not.”
Why do you think Into the Woods is still so popular today?
The story is great fun. We are all familiar with the storybook characters, but seeing them endure real pain and not just the fleeting difficulties with which we connect them in the traditional stories is what connects us. AND THE MUSIC!
What is the best advice Director Evan Hoffmann and/or Musical Director Elisa Rosman has given you in preparing for your performance?
Explore! and Count! I won’t tell who said what.
Why is this production so special?
About a year ago I heard Sondheim interviewed at Strathmore. He said that he didn’t care if great singers were in his shows, so long as the performers were great actors. I believe he would be quite impressed with this production, great actors who can also sing beautilfully.
What do you want audiences to take with them after seeing Into the Woods?
Running Time: Approximately 2 hours, 30 minutes with one intermission.
Into the Woods plays through June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA. For tickets, call the box office at (866) 811-4111, or purchase them online.
Happy Ever After: NextStop’s Innovative Into the Woods Gloriously Updates a Classic for a New Generation
NextStop Theatre Company’s Into the Woods is a glorious reinterpretation of the Stephen Sondheim and James Lapine classic musical. This fractured fairy tale is brought brilliantly to life by the actors and orchestra – as well as a truly unique production concept-to create a moving and memorable experience that leaves the audience wishing for more.
John Loughney (The Baker), Katie McManus (The Baker’s WIfe), and Priscilla Cuellar (The Witch). Photo by Traci J Brooks Studios.
Into the Woods combines the iconic stories of Little Red Riding Hood, Cinderella, Rapunzel, and Jack and the Beanstalk with a Sondheim/Lapine invented tale of a childless baker and his wife. Their intertwining quests lead the fairy tale band into the woods where the characters learn about the cost and consequences wishes, choices, and “happily ever afters.” The original Broadway production garnered three Tony Awards and a Grammy, and inspired an upcoming Hollywood movie starring Meryl Streep, Johnny Depp, and Anna Kendrick.
Director Evan Hoffmann’s concept of Into the Woods is fresh and inventive, drawing out nuances in the material and giving it such vibrancy and urgency that the characters literally spring to life from the pages of their books. Steven Royal’s scenic design is brilliant. A library bursting with secret passages, twisting staircases, and nary a beanstalk in sight gives the director and actors a fresh canvas on which to tell the story, particularly when combined with Eric Kritzler’s and Franklin C. Coleman’s sound and lighting designs. The sound and the chaos of the books falling off the shelves more than effectively conveys the sense of terror and impending doom as the Giant’s Wife (voiced with indignation and wry humor by the Today show host Kathie Lee Gifford) closes in on her prey in Act Two. Property Designer Sierra Banack gives innovative life to two of my favorites –Jack’s faithful cow, Milky White, and Cinderella’s magic birds. Kathy Dunlap’s costumes also add to the magic of Into the Woods, helping define each of the character’s specific personalities.
Music Director Elisa Rosman and her orchestra create beautiful music from behind the second floor book shelves of the library set. This talented group of musicians – both orchestra and singers – tackled the complexities of Sondheim’s score with a clarity and beauty that made it come alive.
The entire cast of Into the Woods delivers solid performances. As the Baker and the Baker’s Wife, John Loughney and Katie McManus have the difficult task of being the human foil to the fairy tale characters. In their quest for a child, Loughney and McManus convey longing, passion, desire, and sorrow as they face the consequences of their choices. The chemistry between them is electric, particularly as they bicker in “Maybe They’re Magic” and come together in “It Takes Two.” Loughney hauntingly conveys the sense of being chased by his past in a moving and emotional “No More.” McManus shines in every scene, but most particularly in her sassy self-examination “Moments in the Woods.”
It is a challenge to any actress playing the Witch to compete with the indelible performances left by such iconic predecessors as Bernadette Peters and Phylicia Rashad. However, Priscilla Cuellar uses her powerful voice and commanding presence to make the Witch her own. Cueller’s rendition of “Last Midnight” is filled with rage and self-righteousness, and her “Children Will Listen” is hauntingly beautiful. Cueller sounds all of the right notes of mother love, possessiveness, and regret in her relationship with Rapunzel (Suzanne Stanley), particularly in a wrenching “Stay With Me.”
Lynn Audrey Neal transforms what can be a throw-away role into one of the most richly developed characters in a musical packed with interesting people. Neal’s thoughtful portrayal of Jack’s Mother as a woman willing to do anything to protect her son really expands on the Sondheim/Lapine themes of being careful with your wishes and dealing with the consequences of your actions.
Sean McComas delivers a soaringly beautiful “Giants in the Sky.” As Jack, McComas radiates boyish idealism and courage. He embues Jack with heart as he matures from a drifting dreamer to an active doer. Brittany Martz serves up a spunky and sassy Cinderella who develops confidence in her own abilities as she faces the consequences of her wishes and decisions.
Nora Palka does a lovely job of embodying all the contradictions in Little Red Riding Hood‘s character. Palka has great comic chops, particularly in her interactions with the Baker, the Baker’s Wife, and Jack. She also effectively draws out the sexual yearning and fear in her encounter with the Wolf (a delightfully sleazy Scott Gaines). Palka’s fresh approach to her character yields a Little Red who is vibrant and undaunted, a heroine for the 21st century.
Nora Palka (Little Red Riding Hood). Photo by Traci J Brooks Studios.
In such a strong ensemble cast, there are a number of standout performances. As Rapunzel’s Prince, Scott Harrison provides some of the most enjoyable comic moments of the evening with his hair flips and pratfalls. Harrison’s “Agony” duets with Cinderella’s Prince (Scott Gaines) are beautifully sung and wonderfully acted. Harrison and Gaines turn the stereotype of Prince Charming completely upside down. In dual roles, Gaines turns in deliciously seductive performances as both the menacing wolf and the roving prince.
As Cinderella’s stepmother, Jennifer Lambert is delightfully self-serving. Her impeccable comic timing carries off one of the most macabre moments of the show. As the stepsisters, Laura Fontaine and Jaclyn Young don’t get a lot of stage time, but they wring every bit of life out of the time they have. Fontaine and Young are scene-stealing actresses whose comic flair adds new dimensions to Florinda and Lucinda.
Don’t wait until the last midnight to get your tickets to NextStop’s sumptuous Into the Woods. The magic of this extraordinary production will linger long after the music ends.
Running Time: Approximately 2 hours, 30 minutes with one intermission.
Into the Woods plays through June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA. For tickets, call the box office at (866) 811-4111, or purchase them online.
NextStop Theatre Company opens its production of Stephen Sondheim’s Into the Woods next weekend and in between battling witches, wolves, and giants the cast shared with us their journey of preparing for their roles in this popular Stephen Sondheim musical. In Part 2: Today meet John Loughney.
John Loughney (The Baker).
Joel: Why did you want to be part of this production of Into the Woods? What did you sing at your audition?
John: Well, for MANY reason. I love this show and I jumped at the chance to work at NextStop. Having performed in a few shows at Elden Street Players, I really came to love the space. Also, I know Evan always puts his heart and soul into his work, so, it made it very easy to say “Yes!”. I sang “Being Alive” for my audition.
Who do you play in the show and why did you want to play this character?
I play the Baker. The Baker has always just been a character that I’ve related to since I first heard the cast album in the 90s. His storyline is heartbreaking and inspiring. I have a soft spot for him.
How do you relate to him?
I see a lot of my dad in the Baker. A lot. I’ll leave it at that.
Have you appeared in any other productions of Into the Woods and who have you played? How is this performance similar or different?
I have. 8 years ago at LTA I played the Baker. It’s funny, my Baker then and now are very different people. I’ve obviously grown up a lot in 8 years. I can’t say I actually experienced the loss the Baker experiences the last time I played the role, but I have since. It makes act 2 much more real and emotional. Loss has changed me in many ways and it’s changed my perspective a lot when it comes to acting.
Have you worked with any of your castmates before?
I have. A few of them. It’s always nice to work with friends and see them grow as performers. I’m also very excited to work with a new crop of actors.
Which character in the show is most like you and the least like you?
Hmmm. I see myself in many of the characters honestly. I think that’s why fairy tales are still somewhat relatable in modern times.
Tell me about the solos/duets you sing and what we learn about your characters when you sing the song?
“It Takes Two” is a big turning point for the Baker and his wife. This is where their relationship is rekindled and recharged. My other songs are “No More” and “No One is Alone” which come in the aftermath of the story and where the Baker must face his own struggles head on.
What do you admire most about your castmates’ performances?
I always appreciate an actor who just goes for it. Sometimes I get too into my head and I’m too calculated in the early rehearsal process. I think we have a lot of people in this cast who just go for it and that pushes me as an actor.
Sondheim’s lyrics are brilliant in Into the Woods. What are your favorite lyrics that you sing and your favorite lyrics that someone else sings?
I think all my favorite lyrics are sung by the Baker’s Wife. “Moments In the Woods” and “Maybe They’re Magic” are two of my favorites. I love the Baker’s Wife realization at the end of her song: ” “Let the moment go, don’t forget it for a moment though, just remembering you’ve had an “and” when your back to “or,” makes the “or” mean more than it did before–now I understand”. And “Maybe They’re Magic” is just pure lyric brilliance throughout.
What is your favorite song that you don’t sing in the show and why?
“Last Midnight”. It’s just a badass song. Sorry I said “badass.”
How can audiences in 2014 relate to Into the Woods now?
I think anyone who has had a “wish” can relate. People will go to any length to get what they wish. The struggles of the Baker and his wife to have a child are a very relatable story (whether you want children or not), everyone has gone to certain lengths to get something they wish for/ want.
Why do you think Into the Woods is still so popular today?
Fairy tales are as popular as ever and have been for centuries. These stories, though seemingly far-fetched in some cases, are still relatable.
What is the best advice Director Evan Hoffmann and/or Musical Director Elisa Rosman has given you in preparing for your performance?
E-NUN-CI-ATE.
Why is this production so special?
Evan is taking a risk and putting a new take on a modern classic. I think it will pay-off in the end.
What do you want audiences to take with them after seeing Into the Woods?
Be careful what you wish for. Simple as that.
Into the Woods plays from May 1-June 1, 2014 at NextStop Theatre Company at the Industrial Strength Theatre -269 Sunset Park Drive, in Herndon, VA. For tickets, call the box office at (703) or purchase them online.
Every moment is a moment in the woods; a brief and fleeting moment of magical mystery and fairytale wonder. Stephen Sondheim’s classic Into The Woods takes to the stage to defy holiday traditions of happy and spirited at the Audrey Herman Spotlighters Theatre this winter, bringing all the magic of any Christmas story with a dark and ominous underbelly that will enthrall audiences everywhere. Fairytale characters at their darkest, a blood-thirsty Little Red Riding Hood, Cinderella with commitment issues and princes that simply can’t keep it in their pants; it’s a dark and brilliant capturing of childhood corrupted. Directed by Fuzz Roark with exceptional Music Direction provided by Michael Tan, this is one holiday musical that will stray from the path.
Mysterious Man (John Hurley) The Baker (Michael Rostek), and The Witch (Evangeline Ridgaway). Photo by Ken Stanek Photography.
Tackling enormous Broadway-scale musicals with casts that stretch on to infinity is always a challenge at Spotlighters Theatre, but Resident Set Designer Alan Zemla encapsulates the world of enchantment between the four pillars of the stage, allowing it to sprawl to the corners of the play space in a most unusual but uniquely creative fashion. Zemla makes little miracles happen in the quaint space, including an elevated tower for Rapunzel, and keeps the foreboding sense of mysticism alive with a self-growing beanstalk, ‘flying’ birds, and even an enormous ‘tree’ that serves as Cinderella’s mother’s gravesite.
A certain level of fantasy is expected when one sees a production of anything Sondheim, Woods being no exception. These fantastical illusions are delivered with flare thanks to resident Costume Designer Laura Nicholson. The peasants look distressed and Little Red glows brightly in her blood-colored cape, but Nicholson’s really impressive work is the numerous gowns that outfit the royal family, including four separate fabulous dresses for Cinderella; three of which are refined and elegant in all their splendor with hints of scarlet and gold in her court dress. But Nicholson’s finest work is evidenced in the wondrous costume shown on The Witch. With swirls of gold and pink paisley set against a rich chocolate, the costume looks like a decadently devious dessert, perfect for the sweetly sinister character.
Director Fuzz Roark creates an attitude profile across the board, giving the characters of Sondheim’s masterpiece a sassy edge. Roark constructs little unspoken moments between the characters, achieved with a sharply focused glance or striking gesture, occasionally even a piercing roll of the eyes. Roark utilizes these techniques most often in the relationship between the Baker and his Wife, occasionally with the Witch. This unique approach to adding a little extra spice to the already dark and twisted characters puts the Spotlighters’ signature touch on the production.
It speaks volumes of Musical Director Michael Tan’s abilities to transform the incredibly complex score of one of Sondheim’s masterpieces into a stunning musical performance. Tan coaxes an incredible sound from this cast; hitting the extremely intricate rhythms and note ranges with a finely honed precision resulting in a near-flawless execution. The harmonies in the main renditions of the title song, which is repeated throughout the performance, are exceedingly difficult but Tan tackles them with a vehement flare and ensures pitch-perfection as well as clear enunciation from the cast overall. Working with the individual principles as much as he does the ensemble, it is clearly showcased that Tan has created a phenomenal singing group for this production.
The little moments of heightened characterization is what keeps the laughs rolling in this otherwise dark musical. Exemplary moments of this come mainly from the Step Family: Mother (Christina Holmes) and the sisters (Autumn Boyle and Rachel Verhaaren). These three women have a haughty air about them, particularly when teasing Cinderella and make up a good portion of the levity when it comes to tragedy in the eyes of others. Narrating the story is John Hurley. While his narration is a bit plain and rather simple he makes up for this characterization when he doubles as the “Mysterious Man” with his wayward rhymes and kooky body language.
Cornering the market on flamboyance is Cinderella’s Prince (Juan Rodriguez) and Rapunzel’s Prince (Brian Kraszewski). The pair swoop about the stage in a woosh of over-the-top charming ridiculousness and are laughable as they leap to and fro. They live up to the comic expectations of the princes and becoming a winning combination with their rather regal voices for their main duet “Agony.” Both Rodriguez and Kraszewski do an impeccable job of keeping pace in this satirical number as the bemoan their problems and boast about their princesses to one another.
Rodriguez doubles as The Wolf and his eager and zesty flamboyance is exhibited exponentially higher in this character. With a rich howling voice for “Hello, Little Girl,” Rodriguez’s voice oozes a carnality that makes the song both sensually inappropriate and wildly hilarious. Keep an eye on the humorous affectations he brings to the character once the wolf is down for a post-meal nap, you’ll be sure to have a good laugh at his expense.
Little Red (Isabel Gordon) is a precocious and amusing character. Gordon does an exceptional job of balancing the character’s dynamic depth, alternating between naïve and viciously overbearing. Her voice is strong with hints of syrupy youth for “I Know Things Now,” and she digs her vocal claws into “Your Fault,” holding her own against the others in that very complex rhythm run.
Just like the dueling princes there are dueling princesses in this production, each having a voice more sweet than the last. Cinderella (Meryem Ahmadian) and Rapunzel (Claire Iverson) vie for the title of prettiest song bird voice and go neck to neck the entire performance. Iverson has a lilting high-pitched soprano sound which is perfect for duet “Stay With Me” sung with the witch. Ahmadian has a voice clear as a bell and turns “Cinderella at the Grave” into an almost mournful lullaby. Her voice is featured throughout as one of the principle singers and her solo “On The Steps of the Palace” is well-articulated and emotionally punctuated.
The Wolf (Juan Rodriguez) and Little Red (Isabel Gordon). Photo by Ken Stanek Photography.
The ambitious Jack (Sean Dynan) has an innocence to his character that is both adorable and laughable. Touched, daft, thick, however you’d like to phrase it Dynan masters the ‘silly’ side of this eager young boy but showcases the lad’s depth for “Giants in the Sky” a warm and adventurous solo that really displays his vocal talent. His interactions with his Mother (Gillian Kramer) make for some amusing comic moments as well. Dynan is a brilliant accompaniment to the four-part harmony number “No One Is Alone” also featuring Ahmadian, Gordon, and Tiffany Spaulding; the best and moving number in the show.
If it’s anyone’s story it’s The Baker (Michael Rostek) and his Wife (Tiffany Spaulding.) The pair sings extremely well together, hitting perfect harmonies and rhythms for “It Takes Two.” It’s the subtle burbling of Rostek and Spaulding’s chemistry—never quite coming to a roiling boil but just enough to spread a little alarm—that really makes the couple function in the performance. Rostek has a hearty sound that really brings layers of emotions to “No More,” true confessions echoing in this number from the depth of his heart. Spaulding has a brilliant voice that sparkles in ensemble numbers and shines beautifully for “Moments in the Wood.”
It’s the stunning Evangeline Ridgaway taking the role of the Witch that rounds out this talented cast. Her voice is sublime, particularly when she solos during “It’s The Last Midnight.” A versatile performer, she raps her way through “Stay Out of My Beans” early in the show and sings with a cloying sweetness for the duet she shares with her daughter Rapunzel. Ridgaway does more than sing with a sensational voice, she thoroughly develops a solid character that bends and shifts as the plot of the story twists and turns. Her emotions are on the very reflective sleeves of her costume and she has no trouble pulling them into her music, her body language and her speaking voice; an overall stunning performance.
So go into the woods; you never know what you’ll find there, be it adventure or a prince, but I can guarantee if you go Into the Woods at Spotlighters Theatre, you’ll find an amazing show perfect to offset all of the extremely cheery and chipper holiday musicals that are happening this time of year.
Running Time: Approximately three hours, with one intermission.
Into The Woodsplays through December 22, 2013 at The Audrey Herman Spotlighters Theatre— 817 North Saint Paul Street, in Baltimore, MD. For tickets call the box office at (410) 752-1225, or purchase them online.
Melissa Errico, star of stage and screen, brought her fantastic cabaret act Melissa Errico: A Passion for Broadway to the Barns at Wolf Trap Saturday night, November 9, 2013 to the delight of the entire audience.
Melissa Errico is a Tony-nominated Broadway actress who has starred in multiple Broadway shows and recorded on various albums, including a collaboration with Oscar-winning composer Michel Legrand in 2011 titled Legrand Affair. She has also appeared in films (including the 2002 film Life or Something Like It) and television. Yet it is musical theatre and Broadway that Errico is passionate about, hence the title of her cabaret show: A Passion for Broadway.
Melissa Errico. Photo courtesy of Wolf Trap.
Errico opened with a beautiful rendition of “Somewhere” from West Side Story, and then entertained the audience with a cute anecdote about being discovered in a hallway and being asked to play the role of Cosette in Les Miserables, before singing an emotional “I Dreamed a Dream.” Errico continued to trace her career throughout the night, singing songs from her shows like My Fair Lady, Dracula, Finian’s Rainbow, Amour, and Passion. Errico was in fine voice—her lustrous soprano going from the anger and passion of “Show Me” from My Fair Lady to the sweet simplicity of “How are Things in Glocca Morra” from Finian’s Rainbow without any loss of power or emotion. She also included various songs by composers she’d worked with, including a powerful “Meadowlark” by Stephen Schwartz and a jazzy, seductive “His Eyes, Her Eyes” by Michel Legrand.
Not all the songs though were from shows Errico starred in or composers she worked with. Besides simply a passion for Broadway, Errico clearly has a passion for Stephen Sondheim, singing songs from Gypsy, Into the Woods, Sweeney Todd, Anyone Can Whistle, Company, and A Little Night Music. Her song choices were interesting and varied, ranging from the predictable standards sung by every Broadway singer (including a fun jazz arrangement of “Not While I’m Around” from Sweeney Todd) to slightly lesser-heard Sondheim songs, including a plaintive “No More” from Into the Woods and a sincere “Small World” from Gypsy. Her rendition of “(Not) Getting Married Today” from Company was hilarious and had the audience in stitches, with Errico singing both parts and tossing a wedding veil on and off as she played the desperate bride trying to get out of the wedding.
Yet Errico’s skill as a singer and as an actress was most clearly evident in her rendition of Stephen Sondheim’s “Send in the Clowns.” The simple piano arrangement was a beautiful backdrop for Errico’s hauntingly mournful soprano, the emotion of the song apparent through her voice. It was simple and clear and authentic, and for me, the highlight of the night.
While Errico’s passion for Broadway was evident, it was clear that the audience had a passion for Melissa Errico, rising to their feet to give her a well-deserved standing ovation.
Running Time: Ninety minutes, with no intermission.
Melissa Errico: A Passion for Broadwayplayed for one night only on November 9, 2013 at The Barns at Wolf Trap -1551 Trap Road, in Vienna, VA. For future events at The Barns, go to their website.
“I wish— I wish to go to the festival! I wish to lift the magic spell that’s cursed upon my house!” I wish — I wish— so many wishes, but they’ll only come true if you venture Into The Woods at the Annapolis Summer Garden Theatre for their final production of 2013. Directed by Darnell Morris with Musical Direction by Trent Goldsmith, this Sondheim Fairytale isn’t like any fairytale you’ve ever heard before. With Cinderella running away from the Prince, and a giant stalking the land wreaking havoc on all in her footfalls happily ever after might be but a pipe dream no matter how deep these storybook denizens venture into the woods. Set with modern framework and a very impressive set of costumes, this dark and foreboding musical is one of composer/lyricist Stephen Sondheim’s finest.
Little Red Riding Hood (Lauren Winther-Hansen), Baker’s Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines), and Jack (Harrison Smith). Photo by Rachel Parker.
Director Darnell Morris, doubling as the show’s Set Designer, creates a dark and whimsical forest in shades of purple yellow and green; an enchanted backdrop with a dark twist that makes the woods a spooky place even if the woods are just trees and the trees are just wood. Morris keeps the fantasy element of the show alive with the help of Scenic Artist Sue Tilberry, who gets the storybook look well-grooved into these trees.
Morris’ unique framing for the show brings a more modern element to the familiar musical. Choosing to make the narrator a little boy who has run away from home because his parents are fighting, the show kicks off with the frightened little boy now alone in the woods telling a story to keep himself entertained. Compressing Sondheim’s work into the dreamscape and nightmare of one small child really hones the focus of the fantasy element of this production. It does at times cause minor confusions as the young Narrator, played by Andrew Sharpe, is at times soft spoken and inarticulate. But Morris’ choice is becomes a flash of horror; a well-suited payoff that fits the Sondheim bill, when the characters turn on the narrator early in Act II.
Costume Designer Linda Swann rounds out the imaginative look with her fusion of modern cos-play style costumes, infused with hints of Steampunk, gentle whimsy and bright colors. The step-sisters wear large garish dresses in pink and lime green plaid and purple and black stripes. Little Red Riding Hood and The Wolf have costumes that most strikingly resemble people from a comic convention, and the Steampunk influence is seen here as well as in the Princes’ outfits. Swann’s hodgepodge of assorted fabrics gives the show an eccentric feel to it; more than fitting for this fractured fairytale.
Musical Director Trent Goldsmith works diligently to hone some of the voices in the ensemble to perfection, but there is a slight imbalance throughout the production with everyone’s singing. At times the lead characters present crystal clear sounds with perfect pitch and articulate so that the clever Sondheim lyrics can be heard, but at other times, particularly during the more difficult rhythm sections of the performance, and large group numbers like “Into The Woods” the voices fade, crack and slide out of key. As this occurred in minor spots throughout and to no one person more so than any other, Goldsmith’s work was uneven. He did, however, manage to coax a rousing enthusiastic sound from the ensemble as a whole when they sing in unison toward the end of songs like “Into the Woods” and “Ever After.”
The cast is chock full of powerful serene voices. Rapunzel (Carol Ann Drescher) who sings but briefly from her tower; Cinderella’s Mother (Anastasia Sophia Herne) whose voice is featured in “Cinderella at the Grave,” and Stepmother (Erika Knepp) who has solo lines scattered throughout. These three women have simply divine voices that soar high into the rafters and sound heavenly, adding a beautiful blend to the many group harmonies performed throughout the show.
A precocious spunky character, Little Red Riding Hood (Lauren Winther-Hansen) is anything but the sweet innocent little girl from the children’s story. Winther-Hansen brings her own unique brand of panache to the character, particularly when singing “I Know Things Now.” Her interactions with the Wolf (Kelston Thomas) during “Hello, Little Girl” are creepy bordering on flirtatiously devious. Thomas, as the Wolf, is made to look like a cross between Jack the Ripper from Victorian London and a Time Traveler, but his peculiar look doesn’t hamper his villainous ability. Thomas is on the prowl, physically and vocally for this number, becoming a truly unsavory character alternating between jaunty and charming when singing with Red, and treacherous while singing at her.
Thomas doubles up as Rapunzel’s Prince, a flamboyant narcissistic character whose effeminate charm is matched only by that of his brother, Cinderella’s Prince (Alex Xourias). Thomas and Xourias are debonair, dashing, charming, and above all hilarious. When they swoop onto the stage, forever entering and exiting in a series of high-arching leaps, it’s impossible not to laugh. The pair couples up for “Agony,” turning this sweet ballad into an irreverent duet, pining over their women and showcasing what we in the modern world call “first world problems.” Thomas and Xourias pair up again for the song’s reprise in Act II, throwing themselves fully and even more comically into the number.
The Baker’s Wife (Malinda Markland) is quite the character. Forever bickering with her husband the Baker (Scott Gaines) she insinuates herself into situations that often end up causing trouble. Markland has an exceptional voice, particularly when it blends with Gaines’ in duets like “It Takes Two,” a song that grants a brief reprieve from the couples’ arguing to show that deep down they truly are in love. Markland delivers an excellent rendition of “Moments in the Woods” splitting herself apart as she is torn between a dreamy doe-eyed fantasy existence and the pragmatic reality in which she’s been thrust.
Little Red Riding Hood (Lauren Winther-Hansen), Baker’s Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines) and Jack (Harrison Smith). Phot by Rachel Parker.
Gaines, as the Baker, doesn’t get a chance to fully showcase his vocal prowess until near the end of the show. “No More,” a harrowing duet, carried mostly by Gaines, breaks the Baker wide open, revealing the raw emotions of his consternation and strife after all that has happened. Gaines’ voice is powerful and well suited for this role.
Jack (Harrison Smith) is a boy described by his Mother (Cristina Shunk) as ‘touched.’ Smith’s acting proves this notion as he is a bit silly, fitting into the strange reality of Sondheim’s fairytale. His voice, however, is miraculous. Belting with pure enthusiasm and wide-eyed wonder during “Giants In The Sky” he astounds the audience with this concentrated sound, after playing the fool for the better part of the first act. Smith’s determination makes his character well grounded, despite his many flights up the beanstalk.
Cinderella (Sarah Treanor) has an equally stunning voice. Carrying many of the main lines in the large ensemble numbers it is easy to hear her voice above the others. With a sweet disposition and a dulcet tone that could easily lull you to sleep for how comforting it is, Treanor pours heart and soul into each of her songs. As the maid turned princess, she delves into all of the emotional baggage her character carries, giving a wide range of feelings from melancholy to excitement and everything in-between. Her song “On The Steps of the Palace” showcases her belt and her range, while “No One Is Alone” shows a tender cajoling side as she tries to comfort Red.
Without a witch you’d have no story, even if she is really just misunderstood. The Witch (Katrina Ellen Sillaman) is the epitome of vocal versatility in this production. Rapping her way through the garden segment of “Prologue: Into The Woods,” her pinched nasally voice is more than suitable for her gnarled and grisly figure. But after her transformation her voice becomes enigmatic and almost ethereal. There is raw broken emotion flowing from her heart in “Stay With Me,” showing her humanity and how deeply the world misunderstands that she is just lonely. “Witch’s Lament” is filled with anger that burbles under the surface, and her most epic number “Last Midnight” is a stunning finale that sends chills up your spine; a truly gifted performer placed in the perfect role.
Dally about and be in the woods, but you must make it out to ASGT before this show goes dark!
Running Time: Approximately Two hours and 45 minute, with one intermission.
Into The Woodsplays through September 1, 2013 at the Annapolis Summer Garden Theatre— 143 Compromise Street in Annapolis, MD. For tickets, call the box office at (410) 268-9212, or purchase them online.
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.
