Interview: Jodi Benson of INTO THE WOODS at Dr. Phillips Center For The Performing Arts

I had the pleasure of doing a phone interview with Broadway star and Disney legend Jodi Benson. She is starring in an upcoming production of Into the Woods as The Witch.  This production is directed by Kristen Sheola and runs July 31-August 2 in Steinmetz Hall at the Dr. Phillips Center for the Performing Arts.

You are globally recognized as Disney’s ultimate daughter archetype, Ariel. Now, you are playing theater's most fiercely overprotective, toxic mother figure. How does it feel to flip that script, and what parts of your own protective maternal instincts did you tap into for Rapunzel’s breakdown?

This is a really difficult role that is way out of my comfort zone. I can much more relate to the Baker's Wife; that's the type of role that I would normally connect with. But Kristen Sheola, our director and my dear friend, has pushed and encouraged me to do this. I’ve spent my rehearsal time exploring and playing, and it changes every night. I'm not relying on something that's solidly built and finished. It's ever-changing, and this character is just all over the place. The parts that are easy for me are when she's connected with Rapunzel; anything I do with Rapunzel feels very natural for me as a mother. But the other parts, when she is casting spells, getting into people, yelling, and turning to the dark side as she struggles—I'm figuring it out. I'm so honored to be with this cast and creative team. They are challenging me, and I am grateful for their kindness and support. It is an incredibly talented cast; every single person is just unbelievable. This group is locked in. Just watching them, I'm in awe. To be in the room and to be challenged by something I've never done before is great for me. I was not familiar with this show at all, having only seen the original Broadway production once back in the '80s. Stepping into Sondheim, especially this particular piece, is pretty exciting and challenging at the same time.

You are famous for Ashman/Menken’s conversational, pop-theater lyrics. Sondheim’s "Last Midnight" or the rap section of the prologue require a radically different vocal agility and breath control. What was your technical approach to mastering Sondheim's intricate internal rhymes?

It requires a ton of rehearsal and nonstop repetition every day. With these lyrics and the music, what's playing underneath often does not seem to go with the vocal line. I’m holding on tightly to make sure I'm on the right note. I still find myself second-guessing because of the dissonance underneath, and Benji, our musical director, has to reassure me that I'm on the right pitch. It's a whole different sound and super challenging. Doing hard things is good because it keeps you creative. One of the things about being an actor is doing something that scares you. Stepping outside your comfort zone will just make you that much better.

You are sharing the stage with a cast of local Orlando actors. How does the energy of anchoring a regional, community-rooted production differ from leading a massive Broadway or Disney machine?

While there is often a wide range of comfort levels on stage in regional theater, this cast is locked in. We have 19-year-olds who are just unbelievable, performing like they've been doing this their entire life. Our understudies step in and it's like they've been doing the role for a year, even without having had a rehearsal. They're a spectacular group of people. To be in the room and be challenged is great for me. As I mentioned, stepping into Sondheim is pretty exciting and challenging at the same time because I am not familiar with this show and didn't really know the music before this process.

Steinmetz Hall is celebrated for its perfect, customizable acoustics. As a vocalist who understands live sound deeply, how does performing in a space designed to be completely acoustically natural alter how you nuance quieter, more vulnerable songs?

It is the most perfect sound that I've ever sung in, including venues around the world. It was fashioned after the opera houses in Italy. When I did Hello, Dolly! there, I was just blown away by the sound. It is so spectacular that you can let go of concerns about whether people can hear you and get lost in your character a lot easier. That was a big reason why Kristen and I immediately started to create another opportunity after Dolly. We met with the board of directors to have them do their very first fully produced musical at Steinmetz that DPC is self-producing, rather than being a tour house or rental space. I said yes right away. This has been in the works for two years. Moving into the house for tech next week is going to help solidify the character development.

The Witch undergoes a dramatic physical and vocal transformation halfway through the show when the curse is lifted. How did you work with Costume Designer Daisy McCarthy-Tucker and wig designer Justin Lore to ensure your physical acting choices evolved seamlessly alongside the wardrobe change?

Justin Lore and I have worked together for the last three years; he is the only wig master I've used because he's just spectacular. I saw Daisy’s designs early on when she locked in the creative direction with Kristen. Her designs are brilliant and she's a delight to work with. I knew we were in great hands and I completely trusted them. The costumes are magnificent and the wigs are gorgeous. They chose for the Witch to be blonde after the transformation, and I was open to that professional decision since I wasn't as familiar with the show. I trust them all. Daisy is a class act and I absolutely adore her.

While prepping for this project over the last few years, how did your mental conception of who 'The Witch' is change before you ever stepped into the rehearsal room?

I watched videos of other productions just to familiarize myself with the musical since it had been so long since I'd seen it. However, I needed to cast aside those performances and figure her out for myself. I started creating her backstory and building that foundation, figuring out what makes her who she is. She definitely runs the gamut of emotions. Her drive is to return to who she used to be and to raise her daughter. I think she regrets the spell she cast on the Baker’s family and Rapunzel. I'm trying to find ways to base it in an authentic performance that isn't cheesy or heightened. If I can base her in the reality of her drive and the ticking clock, then the audience can come along for the ride. Act one has a very clear through-line for the character, while Act two involves big losses and changes that I am still connecting the dots on.

The Witch is arguably the most honest character in the show—she doesn't lie, she just delivers hard truths. She says, 'I'm not good, I'm not nice, I'm just right.' Do you view her as a villain, or simply a realist operating in a world of hypocritical fairy-tale characters?

I definitely don't see her as a villain. She was living on her own and not involved in the drama; it wasn't her fault that the curse was put upon her. While she regrets the additional curse she added out of hurt and anger, she's trying to make it right. She’s been waiting 18 years for the curse to be lifted so they could all live happily ever after. That is really her desire. In Act two, as things fall apart and she loses her daughter, she eventually gives up because nobody will listen to her. Her advice in Act two is actually an attempt to save everybody, but they don't want to listen. She eventually leaves them on their own, hoping for resolve at the very end.

Okay one more for you: You’ve sung Menken music.  You’ve now had a taste of Sondheim.  They’re both very different.  Do you have a preference on which one you like to sing?  

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