In the world of musical theatre, the late Stephen Sondheim may be a celebrated composer and lyricist, but if ever a performer is tasked to star in one of his musicals, it ends up being a bit of an uphill climb with the complexity of his songs and numbers. But if it’s one team that’s confident about doing justice to his work, it’s Pangdemonium, as they prepare to close their 2023 season with Into The Woods this October.

Directed by Tracie Pang, Into The Woods brings together some of the very best local musical theatre stars and more, including Frances Lee and Nathania Ong (who went viral for being the first Singaporean to play Eponine in Les Miserables on the West End), while also bringing on international stars such as Daniel Koek (who was one of the youngest performers to play Jean Valjean in Les Miserables on the West End), and newer faces as well. How does it all come together? We find out as we speak to director Tracie, and cast members Frances, Nathania and Daniel.

“I remember when we did Rent back in 2016, there were so many expectations people had of it, and audiences were hoping for a carbon copy of the versions they’ve seen,” says Tracie, on the direction she’s taking for Into The Woods. “But it’s been 30 years since this musical first came out, andI think there’ve been enough productions that we have more freedom to re-create and reimagine it in our own way. We do hope that our version is lighter and funnier, and accessible for a new audience while still surprising them.”

“Staging it at the Singtel Waterfront Theatre again, which we’re using for the third time this year, we already know the challenges that come with it, and how we have to reconfigure it each time and adapt accordingly,” she adds. “It’s a learning experience for everyone involved, especially with how new of a venue it is, and so we all come in with the understanding and vision that we just want to make sure the production is a success. If anything, there have been very positive responses to ticket sales, which is heartening after a very tough two years, and. I hope people enjoy it enough that they’re encouraged to attend our shows next year as well.”

Into The Woods, in short, takes place in a fictional, fantasy world where all your favourite fairytale characters co-exist. From Red Riding Hood to Cinderella, Prince Charming to the wicked witch, watch as their stories collide while they seek their happy endings…and what comes after. “Into The Woods really is a difficult piece to do, especially on the technical side. It’s challenging to build up the characters, and some sections are so intricately timed to the music that we really have to break it down to a word-by-word interpretation, before bringing it back to show speed,” says Tracie. “But then again, we did choose it so that’s on me, and as hard. as it gets, there’s an excitement that comes with each show that keeps the artistry alive.”

“When Tracie asked me to come onboard, I was both excited and daunted, because I know how challenging Into The Woods can be. There’s a lot going on with so many characters, and I think anyone coming in who’s never read up about it before will be pleasantly surprised,” says Frances, who plays Red Riding Hood and is also the poster child for the show’s key visuals. “I know my character is usually played by a child, but I don’t think there’s any age limit to playing innocence. For us, it’s a chance to reinvent how the character is played, and to bring out the child in my heart.”

“Sondheim is a bit of an acquired taste because of all his intricacies, but I do believe that Into The Woods is a great show for people to learn to love him,” says Daniel Koek, who plays both Cinderella’s Prince and the Big Bad Wolf. “For us though, even when we think we already know the lyrics, suddenly when we’re actually performing during rehearsals they slip from our mind. So what we end up doing is mapping certain movements to specific words or lines, and then speeding it up. It’s about repetition, and once you get through the steps, you begin to learn to master it.”

“Even when I moved to the UK, I was still quite new to musical theatre, and I had never done Sondheim before, though I knew of how notoriously difficult he was to perform,” says Nathania, who plays Cinderella. “When we got into rehearsals, I was like why is there a flat here, why is everything changing constantly? But after listening to and studying the songs, you start to realise that all the punctuation makes sense. Coming back to Singapore for this, it’s been nice getting to know everyone, to gauge what the local industry is like, and that freedom to find the comedy and elements of the different scenes, making it a really fun process overall.”

“What’s exciting about this production is how we have such a diverse mix of people this time, and rather than getting caught in old ways when everyone knows everyone, the dynamic really injects a new kind of energy into the room while we get to know each other’s working styles,” says Tracie. “At this point, the team is finally starting to gel after some time together and getting the chance to bond, and we’re slowly but surely finding the meat of the piece and putting it all together.”

“Most importantly, there are no ‘tiers’ of actors, because it’s about creating a cohesive team. Everyone has the same goal of producing good theatre, and that can be difficult to achieve if you’re the kind of person who cracks the whip during rehearsals,” she adds. “Nobody comes into the profession to be miserable, and we give up a lot to be here, with the long hours and pay. So it’s all the more important that we create this safe, welcoming space for all and respect each other, so much that the newbies can feel comfortable enough to open up and make suggestions, rather than hold back, and always to draw the best out of people and make them realise that they belong here, by making it a good place to work.”

The Singapore theatre scene is distinctly different from the West End one, with shows that run for a few weeks at most compared to months or even years on end. While a big show like Les Miserables can shoot one to stardom, our interviewees are also very aware of the way the industry can sometimes feel like a machine. “Actually, before I got onto Les Miserables on West End, Tracie offered me the role. Into The Woods first,” says Nathania. “And to me, that was a good opportunity to come back home, get to know the workings of the Singapore theatre scene, perform in this fantastic musical, and of course, eat some of my favourite local food. There’s pressure of course, now that I’ve performed in the West End, but it’s been eased a lot by how friendly and open everyone has been during the rehearsal process, and less fear going into the production, which makes me quite happy.”

“I’ve been performing for a long time now, and I do see long-running shows on the West End serving their purpose and building one’s profile, which now runs in tandem with how much presence you have on social media,” says Daniel. “For me, coming out of that rat race, it’s a nice breather to come here and work with nice people and perform in a show I’ve never done before, especially with the luxury of an extensively long rehearsal period at five weeks. It’s been great having that time to play around and discover new elements to the musical, and I love being in Asia as well, with some friends living here, so all those things tick my boxes.”

An actor’s life is one made by choice, and many performers find themselves in survival mode often, constantly pushing themselves in the hopes of making it big, all while keeping up with the cost of living and their own personal responsibilities. “An artist’s career involves so many hard decisions when earning a living, and it’s important to ensure your own welfare comes first sometimes,” says Tracie. “It’s a tough industry, and not everyone gets the big break they’re looking for when they’re out of drama school, even for the people you think are going to be huge and then – nothing.”

“Sometimes, it’s a matter of being in the right place at the right time and taking risks accordingly,” says Daniel. “I did a classical music degree in Australia and ended up travelling around the world for a year after that. When I came back, I learnt that a friend of mine was auditioning for schools in the UK, and I decided to try by sending in an audition tape to Mountview. I didn’t have a lot of money at the time, but six weeks later, I got in and was awarded a partial scholarship, and before you know it, I’ve been in London for 20 years.”

Daniel knows that the performing industry is brutal, which is why he’s been expanding his repertoire, being a vocal coach and running a production company with his partner, which produces West End Sessions, intimate performances from some of London’s most exciting musical theatre stars. “You can’t rely on performing alone, and I do believe that diversifying your skillset is important. If you pigeonhole yourself into one casting bracket, then the moment you’re not chosen is the moment you’re going to be deeply disappointed or unemployed a long time. I think I”m nearing the end of my capability to do a long-running show, and have a lot more commitments these days,” he adds.

Nathania too hails from Mountview, with her story of perseverance rather inspirational for anyone chasing their dreams. Having been initially rejected from a slate of auditions in the UK, Nathania returned to Singapore to pursue acting at Lasalle College of the Arts. A year on, she tried again, this time to Mountview’s musical theatre training programme, while working multiple jobs to finance her trip. But it was all worth it in the end when she found success, making her West End debut in Be More Chill, before being selected to play Eponine on the UK/Ireland tour of Les Miserables. “I actually chose Mountview because by the time a friend convinced me to try auditioning again, I’d already missed the deadlines for the other performing arts schools,” says Nathania. “I ended up applying on the last day of the application and managed to get in, and it was more or less unplanned but somehow got there in the end.”

And as for Frances, who got her BA in Acting from Lasalle, Into The Woods almost feels like a full circle moment for her, having launched her career with Pangdemonium back in 2014 when she performed in Fat Pig. Almost a decade later, Frances is now busy with her regular job with the Music & Drama Company, but cherishes the opportunity to come back to perform in a theatrical production. “Everyone actor in Singapore needs a side hustle, and I think I’m happy working a regular full-time job like this, it’s not too complicated and I don’t have to keep wondering when my next gig is,” says Frances. “But it’s also nice and refreshing for me to come back to the theatre and find the joy in a production once again. I’m just happy to be here.”

Despite their wealth of experience and fame, none of the cast ever lets it get to their head, and always remain humble about having space to grow. “I feel like I’ve still got heaps to learn, I mean I do recognise when I’ve done things successfully and when I’ve honed my talent, but I never think I’ve made it just because I’ve been on the West End,” says Daniel. “And especially when things get tough, I always recall how at the core of it I do love performing, and of the sacrifices along the way, like how my parents had to remortgage the house to send me to London, while also the fact that I’ve been living away from my family for so long now. It’s reflecting on these things that gives you a tougher skin, and even more determined to succeed and dust myself off given all that I’ve given up along the way.”

“I don’t think I’ll ever get to a point where I think I’ve peaked, and when you get there, it means it’s time to stop or reflect on your practice,” says Frances. “For me, the only way I learn is when I fall short, and even if you feel like you’ve already nailed the character early on during the run, you want to keep getting even better with each show, striving to find a new energy every night and working hard to make the magic click.”

“I find myself growing literally every five minutes, getting to see the way different performers work and getting all this exposure to so many different people, and how differently they work or have all these approaches towards their character,” says Nathania. “Especially for comedic timing, which is all about finding the rhythm, and an area I feel like I can stand to learn a lot more. There’s a lot of love for what I do and taking on new projects, finding this marriage between a character and an actor, and that’s what keeps me going, not the mindset that I’m going to become ‘the next big thing’.”

“Even as a director, I find myself constantly learning and finding something new, and I usually end up getting humbled in the middle of rehearsals,” says Tracie. “Every project is completely different, and we always work really hard to figure out how best to do it. It’s never a case where success comes easy, and I find it so important to go back to square one each time, relearning what you know and ensuring you create something new.”

In real life, not everyone gets a happy ending. But for now at least, these theatremakers can be happy in what they do, and keep on keeping on, at least producing a happy night for those seated in the audience. “We all have so many different needs, and I remember having a conversation with my husband last year before heading to Australia for 10 months because I landed a role in Phantom of the Opera,” says Daniel. “And it’s so important to find someone who understands that, so me coming here for two months is basically a walk in the park!”

“I really am very lucky to be in a job I enjoy, and to have a loving and supporting family, with two children I love unconditionally,” says Tracie. “Watching Into The Woods, you come to realise how all your choices have an impact on your life, and I hope that they can appreciate all the different themes going on, or at least, just come for a good night at the theatre and enjoy themselves watching this musical.”

Into The Woods runs from 27th October to 12th November 2023 at the Singtel Waterfront Theatre. Tickets available here