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.