Fables, by Bill Willingham

"Once upon a time, all of your storybooks turned out to be true. Fables is a unique series imagining that all of your favorite nursery rhyme, storybook, and fable characters are real and living in New York City."

This is the description for the popular "Fables," a series of graphic novels containing some of the fairy tale characters in "Into the Woods."


Above is the spin-off of the series, "Jack of Fables," which tells the story of Jack from "Jack and the Beanstalk" except this story begins with Jack making money in Hollywood off a successful string of movies detailing his adventures. And when his money is stripped from him from a fictionalized government of Fabletown authorities, he goes on the run.


Bill Willingham's creation explores some of the same ideas that "Into the Woods" delves into (the first issue can be read here) by looking at a post-happily ever after view of fairy tales and their inhabitants.

Photos courtesy of DC Comics.

The Little Mermaid

Far out in the ocean, where the water is as blue as the prettiest cornflower, and as clear as crystal, it is very, very deep; so deep, indeed, that no cable could fathom it: many church steeples, piled one upon another, would not reach from the ground beneath to the surface of the water above. There dwell the Sea King and his subjects. We must not imagine that there is nothing at the bottom of the sea but bare yellow sand. No, indeed; the most singular flowers and plants grow there; the leaves and stems of which are so pliant, that the slightest agitation of the water causes them to stir as if they had life. Fishes, both large and small, glide between the branches, as birds fly among the trees here upon land. In the deepest spot of all, stands the castle of the Sea King. Its walls are built of coral, and the long, gothic windows are of the clearest amber. The roof is formed of shells, that open and close as the water flows over them. Their appearance is very beautiful, for in each lies a glittering pearl, which would be fit for the diadem of a queen...

Click here to read the rest of Hans Christian Anderson's version of The Little Mermaid, quite different than the Disney-fication of it released in 1989. The story provides a much less idealized version of what fairy tales are typically known as, setting up a different context to view fairy tales in, which is how Into the Woods is best served.

James Lapine

After knocking out the opener of Act I, only consisting of 20+ pages of music and 50+ years of context, in one night, our rehearsal process has moved into creating the world that librettist James Lapine envisioned writing the show's book, with the director's concept adding our own unique vision, as well. But that's for another blog post.

For now, let's take a look at Lapine, literally:









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If you read the most recent post on Sondheim, it should be easy to identify who is who in the picture on the left.

While Lapine's official website contains a wealth of information on the playwright and director (Lapine directed the original versions of ITW at San Diego's Old Globe Theatre in '86 and on Broadway in '87), it's worth pointing out here some of his notable accomplishments.

Lapine has ventured into directing film on three occasions, but his most notable work has come in the theatre, writing and directing Sunday in the Park with George and Passions while also directing the recent Broadway hit, The 25th Annual Putnam County Spelling Bee. A recipient of multiple Tony and Drama Desk Awards, Lapine also won the Pulitzer Prize for his creation of Sunday in the Park... .

1 Photos courtesy of pbs.org

Stephen Sondheim

We journeyed into the forest of Into the Woods with five straight rehearsals devoted to the beast that is the show's score (that's to say, all music). Stephen Sondheim really didn't hold anything back composing the music for the show's intertwine string of fairy tales.

Oh, who is Stephen Sondheim? So glad you asked.













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Sondheim was born in 1930 and is "widely acknowledged as the most innovative, most influential and most important composer and lyricist in modern Broadway history."2

Growing up, Sondheim was friends with Jimmy, son of famous librettist Oscar Hammerstein, and would use this friendship and his relationship with Jimmy's father to develop a love of theater, going on to write the music and lyrics for the following productions:

West Side Story (lyrics only). Gypsy. A Funny Thing Happened on the Way to the Forum. Company. Follies. Sweeney Todd.

These are only some of the shows he's responsible for, along with Into the Woods. Staying prolific into his 70's (his age, not saying he "owned" the decade), Sondheim has also written the scores for Bounce and The Frogs since 2000.

Later this week, a look at the book's librettist, James Lapine, as well as a look into the staging part of our rehearsal process and the world that's being created with the show's mash-up of fairy tales.

1 Photos courtesy of theatermania.com and broadwayworld.com
2 Bio at sondheim.org - The Stephen Sondheim Society

Script Updates

Ira just got the licensed script of Woods from MTI. The scripts given to the production team was a copy of the published version of the Original Broadway Production. The director's notes on the changes and his initial reactions are below:

1. A lot of the "magic" is gone from act one. For example, the Witch no longer "levitates" on page 14 and instead of her "appearing from nowhere" on page 45, she "drops from a tree." I think we should keep exploring the magic. I'm sure that they were changed to accommodate most production limitations of companies producing the show, but I think we can still have "magic." What that means is up to us, but we should further discuss.
2. There are a few staging things that are different. I don't plan on following the stage directions to a tee anyway, so these differences are no important.
3. There are subtle word differences. For example, on page 7, Little Red says, "Please..." after "...a few of those pies..." and on page 13, the Witch says "also hidden in his pocket..." not "also hid in his pocket." As you can see, not too important during the pre-production stage.

Alternate Songs (licensed by MTI and at the production's discretion)

1. "Hello, Little Girl" - This version involves TWO wolves. While one wolf is singing to Little Red, THREE LITTLE PIGS enter and are followed by a second wolf. The wolves sing about their respective prey. WE WILL NOT BE USING THIS VERSION OF THE SONG. Please continue to use the version on pgs. 24-26 in your script.

2. "Our Little World" - This is a song that is sung between the Witch and Rapunzel. It appears in your script on page 31 after the Witch tells Rapunzel to let down the hair...I am going to say MAYBE on this song. I reserve the right to add it because 1) I want to flush out the concept more with the designers, 2) I want/need to discuss this with the Music Director before a final decision is made and 3) depending on casting, I may want to give Rapunzel another song (if, for example, Rapunzel is played by an MFA). THIS BEING SAID, "Our Little World" does end with the Witch "climbing" Rapunzel's hair/tower. That is something to keep in mind during the initial planning/design stages as a realistic possibility.

3. An Alternate Ending for "On the Steps of the Palace" - This ending brings Little Red and Jack into the song at the end. I like it because it connects the stories of Little Red and Cinderella. Plus, I think it's visually and vocally interesting. This DOES NOT change any design elements. I will have to confer with the MD before I decide to officially use this, but I am leaning toward it.

4. Alternate version of "Last Midnight" - I never knew that this existed, but I love it...In this version of the song, the Witch has somehow taken the baby before she starts to sing. She sings the song as a lullaby, and as it grows in intensity, it gets more ominous. They fear that she is going to take the baby like she did with Rapunzel, but she doesn't. She gives him back and it's very powerful. I love what it does to the Witch's journey. Here are the new lyrics (so you can compare with the version found on pgs. 120-122 of your script) with the stage directions as written:

WITCH:
(Unbeknownst to the GROUP, the WITCH has taken the baby; to the BABY as in lullaby)
It's the last midnight,
It's the last wish,
It's the last midnight,
Soon it will be boom-
(Touches the BABY'S nose gently.)
Squish!
(To the OTHERS)
Told a little lie,
Stole a little gold,
Broke a little vow,
Did you?
Had to get your prince,
Had to get you cow,
Have to get your wish,
Doesn't matter how-
Anyway it doesn't matter now.
(Back to the BABY)
It's the last midnight,
It's the boom-
Splat!
Nothing but a vast midnight,
Everybody smashed flat!
Nothing you can do...
Not exactly ture:
You could always give her the boy...

CINDERELLA:
No!

(THEY protect JACK as she reaches for him; back to the BABY)

WITCH:
No?
No, of course what really matters
Is the blame,
Someone they can blame.
Fine, if that the thing they enjoy,
Placing the blame.
(Back to the GROUP)
If that's the aim,
Give me the blame -
Just give me the boy.

LITTLE RED RIDINGHOOD:
No!

WITCH:
(To BABY)
No...
You're so pure,
But stay here,
And in time
You'll mature.
And grow up
To be them,
So let's fly
You and I,
Far away.

BAKER:
(As HE tries to get the BABY)
Please!

WITCH:
(to the BABY as she moves from the BAKER)
I'm the hitch-
I'm what no one believes,
I'm the Witch.
They're all liars and thieves,
Like your father
Just like you will be, too -
Oh, why bother?
They'll just do what they do.
It's the last midnight
(SHE kisses the BABY)
So goodbye all.
(SHE returns the BABY to the BAKER)
Coming at you fast, midnight -
Soon you'll see the sky fall.
Here, you want a bean!
(Throws a bean at HIM)
Have another bean!
(Throws another bean)
Beans were made for making you rich!
(Throws two beans)
Plant them as they soar
(Throws another bean. The OTHERS scramble around, picking up the beans.)
Here, you want some more?
(Throws a shower of them)
Listen to the roar:
Giants by the score - !
Oh well, you can blame another witch.
It's the last midnight,
It's the last verse.
(SHE pops a bean into her mouth.)
Now before it's past midnight,
I'm leaving you my last curse:
(Pops another)
I'm leaving you alone,
(Midnight chimes begin)
Squirming in the mess that you've made.
Fix it on your own.
Time fore me to go, I'm afraid.
Back to what I know
(SHE reveals an arm)
Back to long ago,
Safe inside the world that I'm from.
Better ugly and spurned
(Removes hair)
With my powers returned
(The final stroke of midnight is heard; SHE cocks an ear.)
And I fear
(Throws hair)
Midnight's here.
(Smiles brightly.)
Time to disappear.
(Raises her arms; Thunder and lightning)
Mother here I
(Scream)
Come!
(Disappears, Long Beat. ALL slowly rise.)

Concept Update

Ira sent out an e-mail today asking about a possible conference call for the design team to discuss changes in concept that are different from the first meeting. This version of Into the Woods will be returning to Ira's original concept (details to follow!)

First Production/Design Meeting

Into the Woods had its first design meeting prior to the end of the Spring 09 semester. This particular production has the added element of having Ira Spector, an MFA Candidate in Musical Theatre direct with the assistance of his adviser and professor, Paula Kalustian. This production is also a triple-thesis show for MFAs in the design program: Andrew Hull (scenic), Megan Schmidt (costumes), and Kelli Jean Groskopf (lighting).

Goal: the director to bombard the designers with information so that the next time we meet, it will be the designers' turn.

General Overview:

• Discussion of concept
• Initial creative ideas
• "magic moments:

Morals:

• children will listen (there is a desire for guidence but unwilling to take it; they will always hear but learn by example).
• no one is alone
• be careful that what you wish is what you want***

"These are the stories we tell." - Ralph

• Grimm fairytales vs. Disneyfication
• the stories are scary, recognizable
• cannot lose the core in it adaptation
  

The path as a metaphor

• you never know what you'll find when you stray or come back (good and bad)

Urban concept

• Not a word/score will be changed!
  
• What do we want the audience to take away from it?
• personal connection(s), "nudge factor" - Paula K.
• emotional response
• work out the metaphors (eventually)
  

Production history: Sondheim originally did just Act I

Act II: what is 'happily ever after'?

• much less use of magic in Act II

Designing the world

• avoid a literal world - the abstractness of the set to allow for costume concept
• The Woods as Times Square?
• props will be key in anchoring the design within the fairytale (i.e. the beans, Rapunzel's hair)
• "Is Sesame Street any value to this?" - Ralph (playfulness, urban infused with fantasy)
• graffiti mural - considering casting the narrator as a graffiti artist (reveals the story throughout)
  

MUSTS:

• casting 19-23 people
• active physicality (mostly hip-hop)
  
• enough space to accommodate lots of entrances and exits
• levels
• color (heightened existence, key emotional response(s) to music)
• differentiate between internal/external dialogue
• how the footwear will effect movement, how the costumes move
• orchestra space (5-9)
• follow-spots (create *shadow and light*)

Magic Moments/Possibilities

• the magic in the script is traditional, want to re-imagine it
  
• multimedia experience is an option (cannot be a late add)
• pg. 22 - Cinderella's Mother (in a tree): could be a billboard, pre-recorded
• could be live video feed
• consider the technology of the "time" (team: do not censor early, talk all the time)

Costumes: additional notes from the idea list given at the meeting

• "How would June Cleaver deal with the Beaver if he was a graffiti artist?" - Ralph
• The Witch, going from ugly to beautiful could be set within a traditional fairytale
  

Unveiled: The Poster!

Here's the poster designed by Andy Hull (who is also the Scenic Designer for this production). This poster encompasses the essence of the production concept: modern/urban, recognizable, magical, chaotic.