Into the Woods is the ultimate tale of hope, betrayal, and humility. With wonderful characters that have bold personalities, it is nearly impossible to not become enchanted by the tale. The setting in which Into the Woods takes place plays a vital role in the plot. In order to assure the location is more relevant to the millennial generation, I have set the production in New York during the “Occupy Wall Street” protests. These protests on Wall Street occurred after the 2008 economic recession and bailout by the government. The recession connects with millennials on a personal level, as many were deeply affected by the housing market crash. The fall of the economy relates to the play because the characters’ greed for individual aspirations, to go to the festival, sell the cow, and collect the items needed for a child, leads to them into the woods. The characters in the play are out for themselves individually; not only does this factor of character greed connect with the greed of the banks during the recession, but also to those who wanted to live above their income by any means necessary, without considering the repercussions of the market crash. 

To serve as the background of my set, I have designed a series of painted flats that represent a New York skyline. These flats are each separate structures for the purpose of creating depth that would not be attainable through a traditional painted drop, and providing additional space for actors to move in and out of scenes. The flats are not intended to replicate specific points in the New York skyline, but rather suggest the overall atmosphere and feeling of being in the notorious city. 

The main focal point of the set is a building that resembles the New York Stock Exchange. To visually associate this concept, an “Occupy Wall Street” banner has been hung from the building. This set piece is not only the center of the stage, but also an acting space with entry for actors to work with, making it a helpful and multi-functional piece. By rotating it, on the backside of the New York Stock Exchange building, is the set of the Palace in the opening of Act II. Showing the selfishness of Wall Street and the Prince gives a dual meaning to the building.

I have set a clock tower on Stage Left that doubles as Cinderella’s Mother’s Tree. The tree is designed as a dress on display in a bridal shop store window. On the second story, above the bridal shop, the clock tower will also function as Rapunzel’s Tower. The clock tower will transform into Rapunzel’s Tower by a metal hinge that is placed on the clock to reveal a window inside. To reach this window, the actress playing Rapunzel will climb onto a ladder on the upstage side of the piece, and in doing so, it will create the illusion that Rapunzel is sitting at the top of the tower. 

There is a brick apartment complex Stage Right of the New York Stock Exchange Building. This structure contains The Baker’s house on the first floor, Jack’s house on the second floor, and Cinderella’s house on the third floor. Jack’s house will be redressed by the crew in order for the structure to double as Granny’s apartment. Practical lighting will be used to keep The Baker’s house and Cinderella’s house darkened during Granny’s scene. The set piece is housed on a turntable platform that will be manually rotated to reveal the face of the building. Connected to the building, there is a fire escape; this can be used to create levels as well as allow for imaginative blocking and staging. Furthermore, the fire escape provides easy access to the roof, which can also be used as an acting area, particularly for the final scene where Jack and the Baker kill the Giant.

A news/television station, located Downstage Right, houses the Narrator for the majority of the production as he reports on the events happening onstage, to the audience. The newscast building is equipped with a desk for the Narrator to sit behind. Above the Narrator, hanging on the exterior of the building, sits a large screen broadcasting a live feed of the Narrator’s news story, or in other words, his narration of Into the Woods. The large screen depicts a scene reminiscent of places such as Times Square.

There are many difficulties that accompany crafting a set design of Into the Woods during the “Occupy Wall Street” protests, however the unparalleled character of New York City surmounts the complications, and consequently, improves the entire ambiance. The “Occupy Wall Street” time period commemorates the notorious elements already incorporated in Into The Woods, yet concurrently individualizes my own vision of how greed corrupts all. By updating this classic piece of musical theatre using scenic elements evoking the Occupy Wall Street movement, those born in the millennial generation will find this relatable almost impossible not to connect with.