"Witch Fulfillment" - that's what next Saturday night's benefit concert of "Into the Woods" (ITW) is for artistic director Christopher Wilson. He adores the beloved Stephen Sondheim/James Lapine fairytale musical and his excitement mounts with each passing day.
The concert takes place Saturday, Jan. 17th at 8 p.m. in the MCC Toronto Sanctuary. Of course, it's not the entire musical. Perhaps it could be called a "splinter" event.
Funny, life loving and flamboyantly theatrical, Wilson cracked up the congregation when he promoted the concert at today's church service by singing the show - "Moments in the Woods," usually sung by The Baker's Wife.
Now, the open-minded Metropolitan Community Church of Toronto is distinguished as it welcomes openly LGBT and heterosexual people. So imagine the moment when Christopher sang "Did a prince kiss me? And kiss me? And kiss me? And did I kiss him back?"
The worshippers twigged immediately to Wilson's hilarious revisionism. However,on Saturday night, Wilson and his cast are serving the show straight up.
ITW tells the story of a quest involving classic fairy tale characters consisting of Cinderella, Little Red Riding Hood, Jack and the Beanstalk, a Witch, and two new characters - a Baker and his wife whose childlessness sets the quest in motion.
Many observers have claimed ITW's story and its themes are derived from Bruno Bettelheim's (BB) seminal book "The Uses of Enchantment." In it, the child psychologist uses "the woods" as a major theme. He wrote it's a symbol of the womb, the unconscious, the past, what Sondheim himself describes as "the dark place where we face our trials and emerge wiser and destroyed.
But, as Sondheim wrote in his book "Look, I Made A Hat," he explained his colleague and ITW book writer James Lapine rejected Bettelheim's Freudian approach in favor of Carl Jung's theory that "fairy tales are an indication of the collective unconscious, something with which BB would be unlikely to agree." Lapine also was attracted to the "little dishonesties that enabled characters to reach their happy endings."
Perhaps ITW's universal appeal could be explained in part by what the author and composer/lyricist discovered in a discussion with a Jungian psychiatrist, as Sondheim writes: They discovered that "with the exception of `Jack and the Beanstalk,' which apparently is only native to the British Isles,the tales we were dealing with exist in virtually every culture in the world, especially the Cinderella story.
"African, Chinese, Native American - there is even a contemporary Hebrew version in which Cinderella wants to dance at the Tel Aviv Hilton."
A fundraiser for the AIDS Committee of Toronto (ACT) and the MCC Toronto Refugee & Immigration Program, ITW in concert is being presented by Beyond Boundaries, a not-for-profit professional theatre collective committed to presenting high quality, entertaining musical theatre productions. It produces cutting edge works while developing emerging talents and expanding audiences for the genre. It also provides educational opportunities and community outreach through the performing arts.
With the ITW fundraiser, Beyond Boundaries could be said to be "branching" out. The concert's timing could not have been better. Director Rob Marshall's widely and internationally acclaimed, gorgeous adaptation is destined to take its place among the best movie musicals ever made, including "West Side Story," directed by Robert Wise and Jerome Robbins. Marshall's excellent, imaginative integration of story and music and sheer entertainment value undoubtedly will make it a classic in years to come.
Moreover, with Disney's popular brand recognition and global distribution, hundreds of thousands - maybe millions of people - globally will be introduced to the creative brilliance of Stephen Sondheim's music and lyrics.
Indeed, it is in the midst of transcending languages and cultures everywhere, reminding all of us in our troubled world today, no one is alone. Not only will Sondheim benefit, but also the art of the Broadway musical itself.
But what does the musical mean to Christopher Wilson, BroadwayWorld Toronto wondered? Why present "Into the Woods" in concert and why now? We asked him.
I am unaware of another musical theatre work that so implicitly and vividly captures the human condition in all of its complexities and layers. And yet, this is done in an engaging, entertaining, poignant and accessible manner; brilliantly combing age-old fairy tale characters and expressing their journey through a contemporary lens.
The maturity of this work seemed ahead of its time when it was first produced and yet - this is a reflection of the artistry and immense depth of writers such as (composer and lyricist) Sondheim and (book writer James) Lapine.
The timelessness of "Into the Woods" affected him personally recently.
My Father died in May 2014. Like all us eventually, I was forced to confront emotions associated with the loss of a parent. This musical work spoke anew to me. I had experienced past loss in my life, but the emotional challenge of the holiday season corresponding with the cinematic release of the work brought me back to the "woods". I look to my incredibly talented and generous community for support, inspiration and emotional sustenance. It therefore seemed appropriate and timely to present this work now in concert.
Q: Your memories of ITW, Christopher... When did you first see it? Why does it continue to appeal to you?
My first exposure to ITW was the PBS broadcast of the original Broadway company (starring Bernadette Peters) in 1991. I remember being intrigued, excited and mesmerized. I was drawn into this brilliant fairy tale adaptation with intense layers beyond the scope of my life experience at the time.
My classmates and I, at an arts-focused high school in Kitchener, Ontario, immediately ordered the full piano/vocal score from New York so that we could perform excerpts of the piece ourselves. (As an aside, those classmates included Aoife Nally, who is currently in the West End of London appearing in the revival of Sondheim's "Assassins" and was previously in the revival of Sweeney Todd; and Canadian designer Michael Gianfrancesco, whose work is seen coast to coast including at both the Shaw Festival and Stratford Festival). I have been singing "No One Is Alone" since that time.
What is not surprising now (though I could never have understood it then) is how relevant and topical this work continues to be. As I have continued on my life journey to my current age of 41, I have experienced immense joys and seemingly insurmountable struggles. "Into The Woods" helps to remind us that indeed, we are a community and when united and supportive - there are very few boundaries that cannot be overcome.
Q: You're also playing the Narrator/Mysterious Man - a role that was eliminated in the movie adaptation. Comments? Tell me about your approach to the character? What did you think of the movie, especially the changes?
When a stage production is released as a screen adaptation, there are always going to be conventions that will shift. Artistic directors make different choices based on the medium.
I found the use of the Baker's voice to be a strong choice for the narrator, as the story reflects his personal journey as a through line. As the Mysterious Man/Baker's Father (played by the distinguished British Shakespearean actor Simon Russell Beale) appears very briefly in the latter part of the film, it might have been more effective for us to have seen his presence earlier on (in the musical, as it is in the movie) - to establish a stronger sense of the Baker's feelings regarding his relationship with his father.
I, myself, was a foster parent and know the challenges that are associated with raising a child. Our specific family dynamic was more complex as it involved a history of drug abuse with my foster child's family. As this was not my personal life experience, there were times when I felt less than capable and effective as a parent and role model.
What I gleaned from this dense chapter of my life was that as parents, we do the best we can with what we know. The Mysterious Man admits to his errors and is working heard in context of the musical to correct his shortcomings. In our concert presentation, I strive to bring that understanding to my role and imbue the text with honesty and sincerity.
In terms of the film, I had worked under the producers when I performed in the ABC Disney movie musical "The Music Man "with Matthew Broderick and Kristen Chenoweth. In principal, I am thrilled that musicals are being adapted for the screen to introduce a new audience to the genre! It is hard to compile such a dense theatrical work into a concise film. There are theatrical elements that work best (in my opinion) on stage.
However, I feel the film captures the essence of the work and the heart of its message.
Q: Tell me about how the concert is being presented. Is it just stand and sing in concert blacks? Will performers wear costumes? Will there be any dramatic staging and/or choreography? What can we expect to see?
The concert is being presented with stands and books. However there are prop and costume elements to help provide context and ambiance for the evening. I consider this concert to be a semi-staged reading of the work, with a focus on the music and text.
Q: How was the cast chosen? Have any performed in previous productions of Into The Woods?
The cast consists of my wonderful and talented friends and professional musical theatre colleagues. All thirteen artists involved in this concert cherish the piece, and were extremely excited to benefit the worthy organizations for which we are raising the funds.
Our newest ensemble member, Jenny Weisz (who replaced Gabi Epstein this week due to unforeseen professional conflicts) recently performed the role of Little Red Riding Hood in the Neptune Theatre production in Halifax this past fall. I previously performed the role of the Narrator/Mysterious Man in one I produced and directed in Waterloo in 1998. Our evening's accompanist (pianist) David Myers, also was the musical director of that 1998 production.
Q: Tell me about members of the cast.
Some cast highlights:
Ryan Kelly (Baker) - Ryan has been a regular at Buddies in Bad Times theatre; performed in "The Normal Heart" (Studio 180); and starred in "Living With Henry."
Lisa Kisch (Baker's Wife) - performed in the US National of "Beauty and The Beast"; original company member of "Mamma Mia" (Mirvish, US National); performed at the Charlottetown Festival.
Stephanie Roth (Witch) - performed in the original company of "Tommy" (Mirvish); has performed regionally within Canada including at the Stratford Festival.
Anwyn Musico (Cinderella) - performed as Lisel in "The Sound of Music" (Mirvish).
Liam Tobin (Jack) - currently rehearsing as lead for "Cannibal, The Musical" (Mirvish); performed as Buddy, the Elf in "Elf!" (Grand Theatre, London); several credits with Drayton Entertainment.
Dale Miller (Cinderella's Prince) - recently performed and assistant directed "James and the Giant Peach" (YPT); starred in "Living With Henry"; offertory artist at MCCT.
Kelly Holiff (Florinda/Rapunzel) - performed at the Charlottetown Festival; producer/performer of recent stage reading of "Dogfight!" (Toronto debut); producer/performer of "Hit That Jive Jack" (heart & Stroke benefit concert); offertory artist at MCCT.
Christopher Wilson (Narrator/Mysterious Man) - writer/producer of "Living With Henry"; performed with the Stratford Festival, Charlottetown Festival; offertory artist at MCCT.
Q: Tell me about David Myers' (piano accompanist) background.
David Myers trained as a classical pianist at McGill University. He began accompanying theatre during his time in Montreal and has become one of Canada's best regarded musical theatre musicians. He performed as keyboardist for over a decade with the Genesis tribute band, the Musical Box; and is also a composer of solo piano repertoire, and television/radio music and jingles.
Q: Why did you choose MCC Toronto and did the church agree readily?
I am a member of the MCC Toronto choir and perform with the ensemble as much as my schedule will permit. MCC Toronto is an extraordinary spiritual community led by vibrant individuals (such as Rev. Brent Hawkes) who are committed advocates in our community, locally, nationally and internationally. The work this organization continues to do champions important political and social issues both within our city and abroad.
As a portion of the evening's proceeds will benefit the MCC Toronto Refugee & Immigration Program, this organization is generously and abundantly partnering with us to make this event as successful as we can manifest.
Q: What about the relationship between MCC and musical theatre, thanks in large part to music director Diane Leah? What makes MCC special? How and when did you begin attending services there? When did you first perform?
Diane Leah has been a fixture of the Toronto musical theatre and jazz scene for many years. Highly regarded for her musical talents and leadership, she has continued to bring professional performers from her music community to MCCT to perform. I had known of MCC Toronto through Diane for many years, and began singing with the choir in 2010.
The combination of a vibrant, inclusive spiritual community and an inspiring and engaging musical community... a recipe made in "heaven".
Q: Can you tell me a bit more about "Beyond Boundaries"? Eg. When was it formed? What other projects has it done? Highlights?
Beyond Boundaries came into existence in 2011 with the debut of the contemporary musical "Living With Henry," as part of the Toronto Fringe Festival. Beyond Boundaries is a dynamic, not-for-profit, professional theatre collective.
Q: I understand you are HIV Positive. Will you please comment on what "Into The Woods" means to you from your perspective.
When HIV/AIDS first appeared in the late 80's/early 90's, it ravaged our community - much like the Giant does in Act 2 of this work. It was initially an insurmountable obstacle that destroyed everything in its wake. Today, 25 years later, HIV is often considered a chronic illness and in the presence of medication (when available in the world) it can be managed healthily.
Seven years ago, I did not heed my doctor's guidance and I contracted an AIDS-related illness that nearly took my life. Upon immense reflection on that journey, I wrote the contemporary musical - "Living With Henry." In it, the character Henry represents the HIV virus. But the bigger analogy is Henry represents a challenge in all of our lives (i.e. diabetes, cancer, depression, mental illness) with which we must learn to healthily deal in order to live vibrantly.
No work could speak more truthfully and poignantly than "Into The Woods" as to how we must as a community, persevere with passion and persistence.
Tell us about the show you wrote "Living With Henry."
It's an inspiring contemporary musical drama that explores the complex realities of living with HIV/AIDS today.
"Living With Henry" premiered to critical acclaim in July 2011 at the Toronto Fringe Festival and subsequent Best of Fringe Uptown; and continued in January 2012 as part of the Next Stage Festival. "Living With Henry" had an Off-Broadway debut as part of the New York Musical Theatre Festival in July 2012.
Michael is HIV positive, but it's not a death sentence -- not anymore. Michael just has to learn to live with it... but that's not as simple as it sounds. A musical drama that explores the fears, complications and realities of coping with a complex, chronic condition that affects every day, every relationship, every breath, "Living With Henry" is sometimes comic, sometimes heartbreaking, but always passionate, bold and stunningly honest.
Framing HIV as a chronic illness, this theatrical work poignantly explores present day issues such as stigma, disclosure, interpersonal relationships, medication management and mental health. Most importantly, this engaging, entertaining and thought-provoking musical strives to examine and challenge the misunderstanding currently associated with living with HIV/AIDS.
To learn more, visit
www.livingwithhenry.com.
ITW in Concert will be held at the MCC Toronto Sanctuary in Riverdale - 115 Simpson Avenue, Toronto, ON., just NE of the intersection of Broadview/Gerrard Avenues.
Tickets for the concert are $20 general admission and $15 for arts workers.
To order, visit
www.brownpapertickets.com.
For further information, call: 647-298-9338.
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