INTO THE WOODS

The inspiration to produce and direct a show with Stephen Sondheim music and lyrics originates with the sheer intensity and intelligence behind and within the very music and lyrics themselves. Over the past decade, musical theatre had been, to some extent, regrettably devolving into, toe-tapping stage trickery. A Sondheim musical is the "art" in its purest form. The scores are written with purpose, a deep understanding of the communicative essence of musicology and profound insight. They are touching, thought-provoking, emotional and, yes, entertaining, a veritable smorgasbord for the discerning ear. The theatre-going public should be offered an evening of sensual enlightenment, since mindless entertainment is readily available on TV. Mounting a Sondheim show is always a great challenge. It provides even the most experienced performers with a chance to grow and surpass previous limitations. Apart from the ticket buyers, a production, especially considered "amateur' should and must offer its cast all necessary ingredients for a complete theatrical experience. No composer/lyricist can do that quite the same way Mr. Sondheim can, thus producing his shows is an intimate collaborative procedure which, with proper effort, guarantees a rich, satisfying reward for all involved. That is the defining factor for me when considering the success of a show, and not the number of "bums on seats". Having said that, a Sondheim show never loses sight of its audience, i.e., their right to a complete and uplifting night out. This does not signify, however, pandering or catering to the current dumbing-down so cultivated by the media, be it certain newspapers or some TV stations. "Into the Woods" has been labeled over and over again as Sondheim's most accessible" (read hummable) piece of work. Yes, that may be, but Mr. Sondheim, while an ingenious composer, still writes music that is servant to the text (words). It could be said that Sondheim's music keeps its own counsel, keeps its secrets, never detracting or obstructing the impact of the words. Too often in recent years, Broadway shows have allowed words to lose their primacy. With all the heavy amplification assaulting the ear and the spectacular hydraulic maneuvering, provoking and distracting the eye, the words just seem to get sucked up into the scenery. In a Sondheim production, the words are right out there in front and yet an integral part, telling the story, communicating with not at the audience.

Cari Zöllner, Co-Director "Into the Woods"