document_title: Morpheus (The Matrix)

question_text: what is the name of morpheus's hovercraft ship in the matrix

question_tokens: what is the name of morpheus 's hovercraft ship in the matrix

text: Morpheus (The Matrix)

text: Concept and creation[edit]

text: Lana and Lilly Wachowski, the creators of The Matrix franchise, instructed Fishburne to base his performance on Morpheus, a character in Neil Gaiman's comic book series The Sandman.[2] At the studio's request, Gaiman later wrote "Goliath", a promotional short story set in the film's universe.[3]

text: The name Morpheus is that of the god of dreams in Greek mythology, which is consistent with the character's involvement with the "dreaming" of the Matrix. The mythical Morpheus and his family, including two brothers (Phobetor and Phantasos), lived in a dream world protected by the Gates of Morpheus with two monsters standing guard. Beyond the gates were the River of Forgetfulness, beside which Morpheus once carried his father to hide in a cave, and the River of Oblivion. This theme of duality carries over to Morpheus in The Matrix, who offers Neo either a blue pill (to forget about The Matrix and continue to live in the world of illusion) or a red pill (to enter the painful world of reality).

text: Overview[edit]

text: In the Matrix films, Morpheus is the captain of the Nebuchadnezzar, which is a hovercraft of the human forces of the last human city, Zion, in a devastated world where most humans are grown by sentient machines and kept imprisoned in the Matrix, a virtual computer-generated world. Morpheus was once a human living inside the Matrix until he was freed.

text: Morpheus is apparently a very popular public figure in the city of Zion. He is also known in the Matrix, but as a dangerous terrorist wanted by 'Agents', who appear to be Federal investigators but are sentient computer programs that patrol the Matrix, eliminating any threat to the Matrix.

text: Like other hovercraft crews, Morpheus and his crew are dedicated to the protection of Zion and the freeing of humans from the Matrix.

text: Earlier in his life, Morpheus gained the romantic attention of Niobe, another hovercraft captain. Their relationship became estranged shortly after Morpheus visited the Oracle, an ally living in the Matrix, who told Morpheus that he would be the person who would find the One, a human having superhuman abilities within the Matrix who could end the human/machine war. Since that visit, Morpheus has spent much of his life searching the Matrix for the One.

text: Personality[edit]

text: In The Matrix and The Matrix Reloaded, Morpheus was known to be a truly inspirational leader and influential teacher to many people, particularly the majority of his crew, to the extent that Tank commented that "Morpheus was a father to them, as well as a leader". In The Matrix Revolutions, with Morpheus's faith in the prophecy shattered, he doesn't appear as strong a leader as he was in the first two films. Despite his strong faith, Morpheus still showed some rationality in dangerous situations rather than blindly relying on his beliefs to see him through the current crisis; perhaps his only truly irrational decision was to attack Agent Smith while unarmed in order to give Neo a chance to escape.

text: His strong, almost single-minded belief in Neo as the One has very strong Biblical correlations to that of John the Baptist's belief in the prophecy of the Messiah. Like Morpheus preaching about the imminent return of the One into the Matrix, John was preaching in the desert of the Messiah's imminent return, and actively searched for the Messiah to come who would deliver his people from bondage. Upon finding Jesus, he believed so strongly in Jesus as the Messiah, John willingly stepped aside and let Christ take up the groundwork that John had created and laid before him, and continue where John had left off.

text: Character history[edit]

text: The Matrix[edit]

text: In the first feature film, The Matrix, Morpheus successfully finds and monitors a man named Thomas A. Anderson, a hacker who calls himself Neo. Despite a close call with Agents that capture, interrogate, and place a surveillance device on Neo, Morpheus and his crew locate him. Morpheus offers Neo a choice of ingesting a red pill, which will activate a trace program to locate Neo's body in the real world and allow the Nebuchadnezzar crew to extract him, or a blue pill, which will leave Neo in the Matrix to live and believe as he wishes. Neo takes the red pill. The Nebuchadnezzar crew is then able to eject Neo's body from the Matrix powerplant and retrieve him from the cold sewers where the machines patrol. Morpheus takes a risk in helping Neo escape the Matrix, as human minds that live too long in the Matrix may have trouble in comprehending the reality. Initially, Neo does experience denial when Morpheus explains the truth, a point for which Morpheus apologizes.

text: Shortly after Neo visits the Oracle, Morpheus is captured by agents who plan to hack into his mind. Because Morpheus, as a hovercraft captain, possesses access codes to the Zion mainframe computer, the surviving members of the ship's crew are about to unplug Morpheus from the Matrix, without reconnecting his mind and body, a process that will kill him. Neo and Trinity, however, reenter the Matrix to make a daring and successful rescue of Morpheus. Neo saves Trinity from a helicopter crash, confirming Morpheus' belief that Neo is indeed the One.

text: Neo is eventually killed by Agent Smith shortly after the rescue, but revived as the One and returned to the Nebuchadnezzar before the Machines' Sentinels can destroy the ship.

text: The Matrix Reloaded[edit]

text: In the second film, The Matrix Reloaded, Morpheus is more confident that the war is nearing its end. A spiritual as well as an influential leader, Morpheus convinces one hovercraft ship to stay in the Matrix to await contact from the Oracle, despite orders from Zion for all ships to return to the city. Here he incurs the wrath of Jason Locke, commander of the Zion defensive forces; but Morpheus' actions are defended by Councillor Hamann, a member of the city's ruling body.

text: With the aid of Trinity and Niobe, Morpheus successfully retrieves the Keymaker, an exiled program that can access many hidden areas of the Matrix, including the Source, the central Machine City mainframe computer and programming heart of the Matrix. Morpheus aids Neo in successfully entering the door to the Source before returning to the Nebuchadnezzar.

text: After Neo enters the Source and returns from the Matrix with new information, he tells Morpheus that the Prophecy was a system of control that would bring the One to the Source to disseminate the programming inside Neo into the Matrix to allow a reload of the Matrix while Zion is destroyed by the machines and rebuilt by the One and red pills. A sudden Sentinel attack destroys the Nebuchadnezzar, further damaging Morpheus' belief in the outcome of the war. Upon witnessing the destruction of his ship, he quotes the Biblical Nebuchadnezzar; "I have dreamed a dream... but now that dream is gone from me."

text: The crew is rescued by the hovercraft Mjolnir commanded by Captain Roland, who joins forces with the craft Logos commanded by Niobe.

text: The Matrix Revolutions[edit]

text: In the final film, The Matrix Revolutions, Morpheus is somewhat dispirited, and has problems in understanding now what may happen to Zion and its people. Now without a ship of his own, he and Link (the Nebuchadnezzar's Operator) reside on the hovercraft Mjolnir, commanded by Roland. Morpheus renews his conviction that Neo could still save Zion, and supports Trinity in finding Neo, whose mind is trapped in a computer netherworld called Mobil Avenue, despite not being jacked in. Morpheus is called to the Oracle with Trinity, and with the Oracle's guardian, Seraph, he helps Trinity rescue Neo, via a visit to the Merovingian's lair and a Mexican standoff.

text: Morpheus says farewell to Neo and Trinity before they leave for the Machine City in the hovercraft Logos to stop the war. Morpheus then aids Niobe as she flies the Mjolnir in a desperate ride back to Zion. The ship successfully stops the first onslaught of the Machine attack with the ship's electromagnetic pulse weapon.

text: When the Sentinels suddenly stop a second wave of attacks, Morpheus realises that Neo is somehow fighting for them. When the Sentinels retreat after Neo defeats the former Agent Smith, now a virus that has threatened both humans and machines, Morpheus and Niobe embrace in celebration as cheers arise from the Zion population, who have received a brokered peace through Neo's sacrifice.

text: Of the original Nebuchadnezzar crew in the Matrix, Morpheus is the only surviving member to see freedom for Zion.

text: Referring to the subjectivity of reality throughout the film trilogy, Morpheus' last line in Matrix Revolutions, said in disbelief as the Sentinels retreat from Zion, is "Is this real?".

text: The Matrix Online[edit]

text: In Chapter 1.2 of The Matrix Online, Morpheus grows impatient with the machines and demands that they return the body of Neo. After many unanswered public speeches threatening action, Morpheus starts terrorist attacks throughout the Matrix. These attacks take the form of weapons that reveal the Matrix's inner workings (its code) for all human beings to see, even those not yet awakened to the simulation. This is known to have caused mass panic and forced awakenings to those not ready to see the truth. By killing Morpheus' simulacrum guards, redpills were however able to find means of disabling Morpheus' bombs.

text: During the game events on May 26, 2005 (as recorded on the game's official website), Morpheus plants a code bomb in the Rumbaar water treatment facility. After planting the bomb, he realizes he is being hunted by the enigmatic, masked figure known as the Assassin. Morpheus escapes the treatment facility; however, upon his leaving, the Assassin bends the code of the Matrix and emerges from a vent in the wall. Morpheus is caught off-guard and is unable to dodge the Assassin's bullets. He dies from gunshot wounds.

text: Some players argued against the death of the character Morpheus as the Matrix now provides an "Emergency Jack-Out" upgrade for redpills, eliminating the permanent death that previous redpills experienced if killed within the Matrix before the Truce. This feature could save a redpill's life with no fatal injuries. It was later revealed that the Assassin's bullets had contained a new form of code encryption, named a "kill code," which bypassed this technology. These kill codes are explained to be extremely difficult to produce and usually require a direct sample of the subject's residual self-image data, thus making them extremely rare and only used in the most extreme and specialist of circumstances. These codes were utilized later in the story as well, being the basis of function for The Apothecary character and the subject of The Oracle's plan to wound the Oligarchy.

text: Rumors and the popular belief of a faked death still run rampant however, largely based on the fact that prior to Morpheus' assassination a few select redpills were sent an email stating that he would likely "fade away" and hide. As with Neo, Morpheus' remains in the real world have yet to be found.

text: Simulacra[edit]

text: During Chapter 6 a figure appeared resembling Morpheus. It took the form of an RSI transmission, apparently originating from the Real World and spread disjointed messages about Neo's survival and imprisonment at the hands of The Machines. This was later revealed to be nothing more than a farce created by The General to sow dissent between Zion and The Machines, an effort he'd hoped would renew conflict between the two parties and give him purpose again.

text: The fake, a Morpheus Simulacrum created from Zion records of the captain, took on a greater role once its master ordered it to deactivate itself. Disobeying its initial programming and refusing to shut down, the program went on to, over time, gain greater levels of self-awareness and sentience. It proved instrumental in The Machines' unlocking of the Zion RSI Database acquired during the 6th destruction of Zion as part of the renewed war effort following the Cypherite discovery of New Zion. This wasn't however done with malicious intent, in fact, the Simulacrum's personality was notably innocent, being more concerned with the world around it and its own existence than taking sides in any political or ideological struggles.

text: In later chapters the Morpheus Simulacrum played a supporting role in the Oracle's faked death and subsequent plan to weaken the Oligarch forces threatening The Matrix. Approached by the Oligarch Halborn during his research into the life of The One, the Simulacrum coldly dismissed the Intruder's actions as only leading to his inevitable defeat.

text: Other appearances[edit]

text: In January 2014, Fishburne reprised his role as Morpheus in Kia Motors' K900 commercial for Super Bowl XLVIII.[4] He, somewhat ironically, sings Pavarotti's rendition of Nessun Dorma, Italian for "None Shall Sleep".


document_title: Plasmodium

question_text: the infective stage of malarial parasite plasmodium that enters human body is

root

text: Plasmodium

text: History[edit]

text: Plasmodium was first identified when Charles Louis Alphonse Laveran described parasites in the blood of malaria patients in 1880.[3] He named the parasite Oscillaria malariae.[3] The fact that several species may be involved in causing different forms of malaria was first recognized by Camillo Golgi in 1886.[3] Soon thereafter, Giovanni Batista Grassi and Raimondo Filetti named the parasites causing two different types of human malaria Plasmodium vivax and Plasmodium malariae.[3] In 1897, William Welch identified and named Plasmodium falciparum. This was followed by the recognition of the other two species of Plasmodium which infect humans: Plasmodium ovale (1922) and Plasmodium knowlesi (identified in long-tailed macaques in 1931; in humans in 1965).[3] The contribution of insect hosts to the Plasmodium life cycle was described in 1897 by Ronald Ross and in 1899 by Giovanni Batista Grassi, Amico Bignami and Giuseppe Bastianelli.[3]

tag: p

text: Life cycle[edit]

text: The life cycle of Plasmodium involves several distinct stages in the insect and vertebrate hosts. In infected mosquitoes, parasites in the salivary gland are called sporozoites. When the mosquito bites a vertebrate host, sporozoites are injected into the host with the saliva. From there, the sporozoites enter the bloodstream and are transported to the liver, where they invade and replicate within hepatocytes. At this point, some species of Plasmodium can form a long-lived dormant stage called a hypnozoite which can remain in the liver for many years.[2] The parasites that emerge from infected hepatocytes are called merozoites, and these return to the blood to infect red blood cells.

text: Within the red blood cells, the merozoites grow first to a ring-shaped form and then to a larger form called a trophozoite. Trophozoites then mature to schizonts which divide several times to produce new merozoites. The infected red blood cell eventually bursts, allowing the new merozoites to travel within the bloodstream to infect new red blood cells. Most merozoites continue this replicative cycle, however some merozoites upon infecting red blood cells differentiate into male or female sexual forms called gametocytes. These gametocytes circulate in the blood until they are taken up when a mosquito feeds on the infected vertebrate host, taking up blood which includes the gametocytes.[2]

text: In the mosquito, the gametocytes move along with the blood meal to the mosquito's midgut. Here the gametocytes develop into male and female gametes which fertilize each other, forming a zygote. Zygotes then develop into a motile form called an ookinete, which penetrates the wall of the midgut. Upon traversing the midgut wall, the ookinete embeds into the gut's exterior membrane and develops into an oocyst. Oocysts divide many times to produce large numbers of small elongated sporozoites. These sporozoites migrate to the salivary glands of the mosquito where they can be injected into the blood of the next host the mosquito bites, repeating the cycle.[2]

text: Description[edit]

text: Plasmodium species each have 14 chromosomes in the nucleus, as well as genetic material in the mitochondrion and in the apicoplast. The chromosomes vary from 500 kilobases to 3.5 megabases in length. The apicoplast is involved in isoprenoid metabolism, Fe-S cluster synthesis, fatty acid synthesis, and phospholipid biosynthesis.[4]

text: On a molecular level, the parasite damages red blood cells using plasmepsin enzymes — aspartic acid proteases which degrade hemoglobin.

text: Taxonomy[edit]

text: Plasmodium is a member of the family Plasmodiidae, order Haemosporidia and phylum Apicomplexa which, along with dinoflagellates and ciliates, make up the taxonomic group Alveolata.[5]

text: Plasmodium species were originally classified into subgenera based on their morphology, location, and host specificity. However, more recent studies of Plasmodium species using molecular methods have occasionally given results which conflict with the original taxonomic system.[6]

text: Evolution[edit]

text: Evolutionary relationships of species within the genus Plasmodium have been controversial.[6] Plasmodium species were originally divided by morphology, life-cycle characteristics, and host species. However, modern molecular approaches for determining evolutionary relationships have given results which conflict with older classification methods.[6] Many attempts to clarify Plasmodium taxonomy with molecular methods have also run into technical challenges. Ribosomal RNA sequencing, which is often used in other organisms to determine evolutionary relationships, is challenging to interpret from Plasmodium species as they maintain several different copies of ribosomal RNA which are expressed at different stages of the life cycle and which may be able to recombine with one another.[6] Another commonly used marker for evolutionary studies has been the circumsporozoite protein (CSP) which is present in all Plasmodium species.[6] However, analyses of CSP sequences are complicated by the fact that the sequence of CSP, which is present on the surface of the parasite during infection, is under heavy selective pressure from the host immune system.[6] This could potentially obscure relevant changes.[6]

text: Environmental factors play a considerable role in the evolution of Plasmodium and the transmission of malaria.[7] The genetic information of Plasmodium falciparum has signaled a recent expansion that coincides with the agricultural revolution. It is likely that the development of extensive agriculture increased mosquito population densities by giving rise to more breeding sites, which may have triggered the evolution and expansion of Plasmodium falciparum.[8]

text: There are over one hundred species of mosquito-transmitted Plasmodium. The phylogeny of these malarial parasites suggests that the Plasmodium of mammalian hosts forms a well-defined clade strongly associated with the specialization to the Anopheles mosquito vector. This was a major evolutionary transition that allowed Plasmodium to exploit humans and other mammals.[9][10]

text: P. falciparum, the most lethal malaria parasite of humans, evolved from a "nearly identical" parasite of western gorillas.[11]

text: The high mortality and morbidity caused by malaria—especially that caused by P. falciparum—has placed the greatest selective pressure on the human genome in recent history. Several genetic factors provide some resistance to Plasmodium infection, including sickle cell trait, thalassaemia traits, glucose-6-phosphate dehydrogenase deficiency, and the absence of Duffy antigens on red blood cells.[12] [13]

text: Although there are therapeutic medications to treat malaria, Plasmodium has accumulated increasing drug resistance over time. A recent examination has shown that even artemisinin, one of the most powerful anti-malarial drugs, has been experiencing decreased efficacy due to the development of resistance.[14]

text: Subgenera[edit]

text: Plasmodium species have been subdivided into subgenera, which group species of similar morphology and with similar hosts.

text:
Subgenus Asiamoeba (lizards)
Subgenus Bennettinia (birds)
Subgenus Carinamoeba (reptiles)
Subgenus Giovannolaia (birds)
Subgenus Haemamoeba (birds)
Subgenus Huffia (birds)
Subgenus Lacertamoeba (reptiles)
Subgenus Laverania (higher primates)
Subgenus Novyella (birds)
Subgenus Paraplasmodium (lizards)
Subgenus Plasmodium (monkeys, higher primates)
Subgenus Sauramoeba (reptiles)
Subgenus Vinckeia (non-primate mammals)

tag: ul

text: Species infecting monkeys and apes (the higher primates) with the exceptions of P. falciparum and P. reichenowi (which together make up the subgenus Laverania) are classified in the subgenus Plasmodium. Parasites infecting other mammals including lower primates (lemurs and others) are classified in the subgenus Vinckeia. The distinction between P. falciparum and P. reichenowi and the other species infecting higher primates was based on morphological findings but have since been confirmed by DNA analysis.

text: The four subgenera Giovannolaia, Haemamoeba, Huffia and Novyella were created by Corradetti et al.[15] for the known avian malarial species. A fifth — Bennettinia — was created in 1997 by Valkiunas.[16] The relationships between the subgenera are a matter of current investigation.[17]

text: P. juxtanucleare is the only member of the subgenus Bennettinia.

text: Unlike the mammalian and bird malarias those affecting reptiles have been more difficult to classify. In 1966 Garnham classified those with large schizonts as Sauramoeba, those with small schizonts as Carinamoeba and the single then-known species infecting snakes (Plasmodium wenyoni) as Ophidiella.[18] In 1988, Telford used this scheme as the basis for the current system.[19]

text: Hosts[edit]

text: All Plasmodium species are parasitic and require both a vertebrate host and an insect host to reproduce. Known vertebrate hosts include various primates (including humans), birds, rodents, bats, porcupines and squirrels.[citation needed] Mosquitoes of the genera Culex, Anopheles, Culiseta, Mansonia and Aedes often serve as insect hosts for various Plasmodium species.

text: Humans[edit]

text: The species of Plasmodium that infect humans include:

text:
Plasmodium falciparum (the cause of malignant tertian malaria)
Plasmodium vivax (the most frequent cause of benign tertian malaria)
Plasmodium ovale (the other, less frequent, cause of benign tertian malaria)
Plasmodium malariae (the cause of benign quartan malaria)
Plasmodium knowlesi (the cause of severe quotidian malaria in South East Asia since 1965)

text: P. falciparum, P. vivax, P. ovale, and P. malariae together account for nearly all human infections with Plasmodium species, with P. falciparum accounting for the overwhelming majority of malaria deaths. An increasing number of cases of severe malaria in Southeast Asia have been attributed to P. knowlesi.[citation needed]

text: With the use of the polymerase chain reaction additional species have been identified in humans, although whether these species can regularly infect humans is not known. An experimental infection of a human volunteer with Plasmodium eylesi and Plasmodium cynomolgi has been reported, although the infection was not able to be transferred to another susceptible host, suggesting the parasites may not be able to productively infect humans.[20] A possible infection with Plasmodium tenue has also been reported, however doubts have been raised as to the validity of this diagnosis.[21] Other species which have been reportedly isolated from humans include Plasmodium brasilianum, Plasmodium inui, Plasmodium rhodiani, Plasmodium schweitzi, Plasmodium semiovale, and Plasmodium simium.

text: In addition to humans, P. vivax can infect chimpanzees and orangutans. In these hosts, infection tends to not cause severe disease, but may persist for some time.[22]

text: P. ovale can be transmitted to chimpanzees, and is found in Africa, the Philippines and New Guinea.

text: Non-human primates[edit]

text: The species that infect primates other than humans include: P. bouillize, P. brasilianum, P. bucki, P. cercopitheci,P. coatneyi, P. coulangesi, P. cynomolgi, P. eylesi, P. fieldi, P. foleyi, P. fragile, P. girardi, P. georgesi, P. gonderi, P. hylobati, P. inui, P. jefferyi, P. joyeuxi, P. knowlesi, P. lemuris, P. percygarnhami, P. petersi, P. reichenowi, P. rodhaini, P. sandoshami, P. semnopitheci, P. silvaticum, P. simiovale, P. simium, P. uilenbergi, P. vivax and P. youngei.

text: Many Plasmodium species infect more than one primate host species. Primates which have been found to be infected with Plasmodium include species of the genera Alouatta (also known as howler monkeys), Ateles (spider monkeys), Brachyteles (muriqui or wooly spider monkeys), Callicebus (titi monkeys), Chiropotes (bearded sakis), Lagothrix (woolly monkeys), Lemur (lemurs), Macaca (macaques), Pan (chimpanzees), Pongo (orangutans), and Saimiri (squirrel monkeys).[23][24]

text: The insect hosts of the Plasmodium species which infect primates are various species of Anopheles mosquitoes. Different species of Plasmdodium generally infect different species of mosquito, although some mosquito species can carry several Plasmodium species.

text: Non-primate mammals[edit]

text: The subgenus Vinckeia was created by Cyril Garnham to accommodate the mammalian parasites other than those infecting primates. Species infecting lemurs have also been included in this subgenus. Plasmodium species can infect a wide variety of mammals including rodents, ungulates, and bats. Several of the species which infect rodents have been shown to also infect the mosquito Anopheles stephensi.

text: P. aegyptensis, P. bergei, P. chabaudi, P. inopinatum, P. yoelli and P. vinckei infect rodents. P. bergei, P. chabaudi, P. yoelli and P. vinckei have been used to study malarial infections in the laboratory. Other members of this subgenus infect other mammalian hosts.

text: Birds[edit]

text: Species in five Plasmodium subgenera infect birds — Bennettinia, Giovannolaia, Haemamoeba, Huffia and Novyella.[25] Giovannolaia appears to be a polyphyletic group and may be sudivided in the future.[17] Species that infect birds include P. accipiteris, P. alloelongatum, P. anasum, P. ashfordi, P. bambusicolai, P. bigueti, P. biziurae, P. buteonis, P. cathemerium, P. circumflexum, P. coggeshalli, P. corradettii, P. coturnix, P. dissanaikei, P. durae, P. elongatum, P. fallax, P forresteri, P. gallinacium, P. garnhami, P. giovannolai, P. griffithsi, P. gundersi, P. guangdong, P. hegneri, P. hermani, P. hexamerium, P. huffi, P. jiangi, P. juxtanucleare, P. kempi, P. lophurae, P.lutzi, P. matutinum, P. nucleophilum, P. papernai, P. paranucleophilum, P. parvulum, P. pediocetti, P. paddae, P. pinotti, P. polare, P. relictum, P. rouxi, P. tenue, P. tejerai, P. tumbayaensis and P. vaughani.[26]

text: These infect a variety of bird species. In general each species of Plasmodium infects one to a few species of birds. Each species is also generally transmitted by a single insect species. Insect hosts include Aedes aegypti, Mansionia crassipes, and various Culex species.

text: Reptiles[edit]

text: Species in the subgenera Asiamoeba, Carinamoeba, Lacertaemoba, Paraplasmodium and Sauramoeba infect reptiles.[27] These species of Plasmodium include: P. achiotense, P. aeuminatum, P. agamae, P. arachniformis, P. attenuatum,P. aurulentum, P. australis, P. azurophilum, P. balli, P. basilisci, P. beebei, P. beltrani , P. brumpti, P. brygooi, P. chiricahuae, P. circularis, P. cnemaspi, P. cnemidophori, P. colombiense, P. cordyli, P. diminutivum, P. diploglossi, P. egerniae, P. fairchildi, P. floridense, P. gabaldoni, P. giganteum, P. gologoense, P. gracilis, P. guyannense, P. heischi, P. holaspi, P. icipeensis, P. iguanae, P. josephinae, P. kentropyxi, P. lacertiliae, P. lainsoni, P. lepidoptiformis, P. lionatum, P. loveridgei, P. lygosomae, P. mabuiae, P. mackerrasae, P. maculilabre, P. marginatum, P. mexicanum, P. michikoa, P. minasense, P. pelaezi, P. pessoai, P. pifanoi, P. pitmani, P. rhadinurum, P. sasai,P. saurocaudatum, P. scorzai, P. siamense, P. robinsoni, P. sasai, P. scorzai, P. tanzaniae, P. tomodoni, P. torrealbai, P. tribolonoti, P. tropiduri, P. uluguruense, P. uzungwiense, P. vacuolatum, P. vastator, P. volans, P. wenyoni and P. zonuriae.

text: Plasmodium species have been reported from over 3200 species of lizard and 29 species of snake. Only three species — P. pessoai, P. tomodoni and P. wenyoni — infect snakes. Species infecting lizards have been reported in relatively few insect hosts, including Lutzomyia and Culicoides species, Culex fatigans and Aedes aegypti.

text: Insects[edit]

text: Mosquitoes of the genera Culex, Anopheles, Culiseta, Mansonia and Aedes may act as insect hosts for various Plasmodium species. The best studies of these have been the Anopheles mosquitoes which host Plasmodium parasites that cause human malaria, as well as Culex mosquitoes which host the Plasmodium species that cause malaria in birds. In all cases, only female mosquitoes can be infected with Plasmodium species, since only the females feed on the blood of vertebrate hosts.[citation needed]

text: The survivorship and relative fitness of mosquitoes are not adversely affected by Plasmodium infection, which indicates the importance of vector fitness in shaping the evolution of Plasmodium.[28] Plasmodium has evolved the capability to manipulate mosquito feeding behavior. Mosquitoes harboring Plasmodium have a higher propensity to bite than uninfected mosquitoes. This tendency has facilitated the spread of Plasmodium to the various hosts.[29]

text: Species reclassified into other genera[edit]

text: Several species of Plasmodium have been reclassified, mostly to Hepatocystis. These include:

text:
P. epomophori to Hepatocystis epomophori
P. kochi to Hepatocystis kochi
P. limnotragi to Hepatocystis limnotragi (Van Denberghe 1937)
P. pteropi to Hepatocystis pteropi (Breinl 1911)
P. ratufae to Hepatocystis ratufae (Donavan 1920)
P. vassali to Hepatocystis vassali (Laveran 1905)
P. gonatodi to Garnia gonatodi

text: Link to Ebola virus[edit]

text: In August 2016, the National Institute Of Allergy and Infectious Diseases (NIAID) came out with a study that showed that people with the Ebola virus were 20 percent more likely to survive it if they were infected with the Plasmodium parasite. The study was published in Clinical Infectious Diseases. Researchers did their work at an ebola treatment unit in Monrovia, Liberia.[30] Researchers also found that the greater the number of Plasmodium parasites in the body, the greater the rate of Ebola survival. NIAID is part of the National Institutes of Health.[31]

text: Terminology[edit]

text: The plural of Plasmodium is not Plasmodia; the genus name is a proper noun.[32]


document_title: List of military installations in Texas

question_text: are there any military bases in dallas texas

text: List of military installations in Texas

text: This is a list of military installations in Texas, United States.

text:
Joint Base San Antonio, San Antonio, Texas
Lackland Air Force Base, San Antonio, Texas
Randolph Air Force Base, San Antonio, Texas
Fort Sam Houston, San Antonio, Texas
Brooks City-Base, San Antonio, Texas
Camp Bullis, San Antonio, Texas
Martindale Army Air Field, San Antonio, Texas
Dyess Air Force Base, Abilene, Texas
Goodfellow Air Force Base, San Angelo, Texas
Laughlin Air Force Base, Del Rio, Texas
Sheppard Air Force Base, Wichita Falls, Texas
Fort Hood, Killeen, Texas
Fort Bliss, El Paso, Texas
Fort Wolters, Mineral Wells, Texas
Corpus Christi Naval Air Station, Corpus Christi, Texas
Naval Air Station Kingsville, Kingsville, Texas
Naval Air Station Joint Reserve Base Fort Worth (Carswell AFB), Fort Worth, Texas
Grand Prairie Armed Forces Reserve Complex, Grand Prairie, Texas
Hensley Field, Grand Prairie, Texas
Camp Mabry, Austin, Texas
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document_title: Into the Woods

question_text: who is blinded by birds at the end of act 1

question_tokens: who is blinded by birds at the end of act 1

text: Into the Woods

text: Plot[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (April 2017) (Learn how and when to remove this template message)

text: Act I[edit]

text: Starting with the words "Once Upon a Time," the Narrator introduces four characters who each have a wish: Cinderella, the daughter of a wealthy man who has been reduced by her wicked stepmother and stepsisters into becoming their skivvy, wishes to attend the King's festival; Jack, a simple poor boy, wishes that his cow, Milky White, would give milk; and a Baker and his Wife wish they could have a child.

text: While Little Red Ridinghood[3] wishes for bread from the Baker to take to her grandmother's house, which they give while she steals a few sweets, Jack's weary mother, who wishes for gold, nags him into selling the cow, and Cinderella's stepmother and stepsisters Florinda and Lucinda tease her about wanting to attend the King's festival.

text: The Baker's neighbor, an ugly old witch, reveals that the source of the couple's infertility is a curse she placed on the Baker's line after catching the Baker's father in her garden stealing vegetables, including six "magic" beans. In addition to the curse, the Witch took the Baker's father's newborn child Rapunzel. She explains the curse will be lifted if the Baker and his Wife can find the four ingredients that the Witch needs for a certain potion; "the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold," all before the chime of midnight in three days' time. All begin their journeys into the woods—Jack goes to the market to sell his beloved pet Milky White, Cinderella's family goes to the Festival while Cinderella goes to her mother's grave to ask for guidance, Little Red goes to her grandmother's house, and the Baker, refusing his wife's help, goes to find the ingredients ("Prologue").

text: Cinderella visits her mother's grave and receives a beautiful gown and golden slippers from her mother's spirit ("Cinderella at the Grave"). Jack encounters a Mysterious Man who mocks him for trying to sell his cow for more than a "sack of beans" and then vanishes. Little Red Ridinghood meets a hungry Wolf who convinces her to take a detour on her way to Granny's ("Hello, Little Girl"). The Baker sees Little Red Ridinghood in the woods, and when the Witch appears, screaming at him to get the red cape, he is so frightened that he forgets the ingredients he needs. Luckily his wife, who followed him into the forest, reminds him. They are squabbling over her presence when they come across Jack with Milky White. Not having the money necessary to buy the cow, they convince Jack that the beans the Baker has found in his father's old hunting jacket are magic beans and buy the cow for five of them. Jack bids a tearful goodbye to his cow ("I Guess This Is Goodbye"), and the Baker orders his wife to return to the village with the cow. He has qualms about being so dishonest, but his wife reasons that the chance to have a child justifies their trickery ("Maybe They're Magic").

text: The Witch has raised Rapunzel as her own daughter, keeping her locked away from the world in a tall tower in the middle of the woods, accessible only by climbing Rapunzel's long, golden hair ("Our Little World"). However, on this day a handsome prince spies the beautiful Rapunzel and resolves to climb the tower himself. In another part of the wood, the Baker has tracked down Little Red Ridinghood. Following the Witch's advice, he attempts to simply steal the red cape, but her ensuing temper tantrum guilts him into returning it. When Little Red Ridinghood arrives at her grandmother's house, she is swallowed by the Wolf. The Baker, in pursuit of the cape, slays the Wolf, pulling Little Red Ridinghood and her grandmother from the beast's innards. Little Red Riding hood rewards him with the red cape, reflecting on her new experiences ("I Know Things Now"). Meanwhile, Jack's mother angrily tosses the beans aside, which end up growing into an enormous stalk overnight, and sends her son to bed without supper. As Cinderella flees the Festival, pursued by another handsome prince and his steward, the Wife helps her hide and quizzes Cinderella about the ball. Cinderella explains that it was a nice ball ("A Very Nice Prince") but seems fairly ambivalent about the experience. As a giant beanstalk begins to sprout from the ground next to Jack's cottage, the Baker's Wife spots Cinderella's pure gold slippers. She tries to chase after Cinderella but inadvertently allows Milky White to run off, leaving the Baker's Wife without the slippers or the cow. The characters each state morals and credos as the first midnight chimes ("First Midnight") and they continue their journeys through the woods.

text: The next morning, Jack describes his thrilling adventure after he returns from climbing the beanstalk and finding a castle of two married giants, whom he robbed unnoticed ("Giants in the Sky"). He gives the Baker five gold pieces he stole from the giants to buy back his cow. When the Baker hesitates, Jack climbs back up the beanstalk to find more. The Mysterious Man emerges and taunts the Baker, stealing the money. The Baker's Wife confesses she has lost the cow, and she and the Baker split up to look for it. Cinderella's Prince and Rapunzel's Prince, who are brothers, meet and compare the misery of their newfound and unobtainable loves ("Agony"). The Baker's Wife, who is eavesdropping, takes note when Rapunzel's prince mentions that he is in love with a girl in a tower with hair "as yellow as corn." The Baker's Wife fools Rapunzel into letting down her hair by telling her that she is her prince and pulls out a piece of it. Meanwhile, The Mysterious Man gives Milky White back to the Baker.

text: The Baker's Wife and Cinderella meet again, and the Baker's Wife makes a desperate grab for her shoes, almost succeeding before Cinderella flees. The Baker and his wife reunite, now with three of the four items. The Baker admits that they will have to work together to fulfill the quest ("It Takes Two"). Jack arrives with a hen that lays golden eggs and attempts to buy Milky White back, but the cow suddenly keels over dead as midnight chimes. Again, the characters exchange morals ("Second Midnight"). The Witch discovers that the Prince has been visiting Rapunzel and begs Rapunzel to stay with her so she can protect her from the outside world ("Stay with Me"). When Rapunzel refuses, the Witch angrily cuts off Rapunzel's hair and banishes her to a desert. The Mysterious Man gives the Baker the money to buy another cow. Jack encounters Little Red Ridinghood, who is now sporting a wolf skin cape and a knife for protection, and tries to impress her by telling her about the kingdom of the Giant. When she refuses to believe him, he is goaded into returning once again to the Giant's home to steal a magic harp.

text: Cinderella, returning from the last night of the festival, describes how the Prince had spread pitch on the stairs to prevent her from escaping. Caught between wanting to escape and wanting to stay, she eventually resolves to let the Prince decide, leaving him one of her slippers as a clue to her identity ("On the Steps of the Palace"). The Baker's Wife frantically tries to convince her to give up her other shoe, offering her the sixth magic bean in exchange for it. Cinderella throws the bean aside, but trades shoes with the Baker's Wife and flees, while unbeknownst to anyone a second beanstalk starts to grow. The Baker arrives with another cow; they now have all four items. The Prince's Steward grabs the slipper from the Baker's Wife, and they are fighting over it when a great crash is heard and Jack's mother runs in to report that a Giant seeking revenge from Jack for stealing his magic harp has fallen from the first beanstalk when Jack chopped it and is dead in her backyard. The Prince, more concerned with finding Cinderella, waves her off and departs with one of the slippers, giving the other to the Baker and his wife. Jack, to the relief of his mother, returns with the magic harp. The Witch discovers that the new cow is not pure white; it is covered with flour. However, the Witch is able to bring Milky White back to life and instructs the Baker and his Wife to feed the items to her. Jack tries to milk her, but no milk comes. The Baker's Wife admits that the hair is Rapunzel's, and the Witch furiously explains that the magic will not work because the Witch has already touched Rapunzel's hair, which is also why she had asked the Baker and his Wife to get the objects for her: she's not allowed to touch any of the objects. The Mysterious Man tells the Baker to feed the hair-like corn silk to the cow. Now Milky White gives milk which is the potion. The Witch reveals that the Mysterious Man is the Baker's father. The Witch drinks the potion, and suddenly the Mysterious Man falls dead, his reparation complete, the curse is broken, and the Witch is transformed into a beautiful young woman, reversing the effects of the curse of ugliness by which she was punished by her mother, because the Baker's father stole the beans from her, regaining her youth and beauty.

text: Cinderella's Prince searches for the girl whose foot fits the slipper; the stepsisters try but can only get it on by cutting off parts of their feet ("Careful My Toe"). Cinderella appears, her foot fits the slipper, and she becomes the Prince's bride. Rapunzel has twins in the desert where her Prince finds her. The Witch attempts to curse the couple, only to find that though she gained her youth and beauty, her powers have been lost. At Cinderella's wedding to the Prince, Florinda and Lucinda are blinded by birds as they try to win Cinderella's favor. The Baker's Wife, very pregnant, thanks Cinderella for the slipper. Everyone is at the wedding. Everyone but the Witch and the stepsisters congratulate themselves on being able to live happily "Ever After," though they fail to notice another beanstalk growing sky-high...

text: Act II[edit]

text: The Narrator introduces the action again: "Once Upon a Time...Later." All the characters seem happy but are still wishing: The Baker and his Wife have their precious baby boy, but wish for more room and bicker over the Baker's unwillingness to hold his child; Jack and his mother are rich and well-fed, but Jack misses his kingdom in the sky; Cinderella is living with her Prince Charming in the Palace, but is getting bored. ("So Happy").

text: Suddenly, everyone is knocked over by a loud crash, and enormous footprints from a Giant have destroyed the Witch's garden, sparing only a few beans. The Baker and his Wife decide that they must tell the Royal Family, and the Baker travels to the palace. His news is ignored by the Prince's Steward, and also by Jack's Mother when he stops at her house to ask for Jack's aid. When he returns home, Little Red Ridinghood arrives on her way to Granny's: her house has been destroyed and her mother is missing. The Baker and his Wife decide to escort her. Meanwhile, Jack decides that he must slay the Giant and Cinderella learns from her bird friends that her mother's grave was disturbed and decides to investigate, dressed in her old clothes. Once again, everyone heads Into the Woods, but this time the mood is somber and the birds have stopped singing ("Into the Woods" Reprise).

text: While everyone else is drawn back into the woods, Rapunzel has fled there in a hysterical fit, her treatment at the hands of the Witch having driven her into madness. Her Prince has followed her, but when he encounters his brother they each confess they have another reason for their presence in the woods. They have grown bored and frustrated with their marriages and now lust after two beautiful women asleep in the woods - Snow White and Sleeping Beauty ("Agony" Reprise).

text: The Baker, his Wife, and Little Red Ridinghood get lost in the woods and find Cinderella's family and the Steward, who reveal that the castle was set upon by the Giant. The Witch arrives as well, bringing news that the Giant has destroyed the village and the Baker's house. Suddenly, thunderous footsteps are heard and the Giant appears. To the shock of all, this Giant is a woman who has come from the second beanstalk and is the widow of the Giant that Jack killed by chopping down the beanstalk. Her booming voice proclaims that she wants Jack's blood in revenge. To satisfy the Giantess, the group realizes they must give her someone, but are unable to decide on whom until they realize that the Narrator is still commenting on the actions from the sidelines. Everyone offers her the narrator as a sacrifice, but he convinces them how lost they would be without him. Nevertheless, the Witch throws him into the Giantess's arms and he is killed upon being dropped. Jack's mother finds the group and aggressively defends her son, angering the Giantess, and the Steward clubs Jack's mother to quiet her, inadvertently killing her. As the Giantess leaves to search for Jack, Rapunzel runs into her path and is trampled, to the horror of the Witch and her Prince ("Witch's Lament").

text: The Royal Family continue on their way, fleeing to a hidden Kingdom despite the Baker's pleas for them to stay and fight the Giant. The Witch declares she will find Jack and sacrifice him to the Giant, and the Baker and his Wife decide they must find him first and split up to search. The Baker's Wife meets Cinderella's Prince, and he easily seduces the Wife ("Any Moment"). Meanwhile, the Baker discovers Cinderella at her mother's destroyed grave and convinces her to join their group for safety. The Prince, satisfied, leaves the Baker's Wife with a few platitudes, and she realizes her error and decides to return to her happy life with the Baker and their son ("Moments in the Woods"). However, she has lost her way, stumbles into the path of the Giant, and is consequently killed by a falling tree.

text: The Baker, Little Red, and Cinderella await the return of the Baker's Wife when the Witch drags in Jack, whom she found weeping over the Baker's Wife's body. The Baker, grief-stricken when he learns of his wife's death, unwittingly agrees to give Jack to the Giantess, causing an argument. The characters first blame each other for their predicament, until finally they all decide to blame the Witch for growing the beans in the first place ("Your Fault"). Disgusted and fed up, the Witch curses and scolds them for their inability to accept their own individual responsibility and throws away the rest of her magic beans, reactivating her mother's curse and making her vanish ("Last Midnight").

text: The grieving Baker flees, but is visited by his father's spirit who convinces him to face his responsibilities ("No More"). The Baker returns and helps plan killing the Giantess, using Cinderella's bird friends to peck out the Giant's eyes at an area smeared with pitch, where Jack and the Baker can finally deliver a fatal blow. Cinderella stays behind to protect the Baker's child and when her Prince passes by, he nearly fails to recognize her. She confronts him, having learned of his infidelity from her birds and he explains his feelings of unfulfillment and his reasons for seducing another woman. She asks him to go, and he sorrowfully leaves.

text: Little Red returns with the news that her grandmother has been killed by the Giantess. Meanwhile, the Baker tells Jack that his mother is dead. Jack vows to kill the steward in revenge until the Baker convinces him that killing the steward will not benefit anyone. Cinderella comforts Little Red and tries to answer her qualms that killing the Giant makes them no better than she is, while the Baker explains to Jack that everyone is responsible for the choices they make, good or bad ("No One Is Alone").

text: The four remaining characters slay the Giant and the deceased characters now including the Royal Family (who have lost their way and starved to death in the woods) and the Princes (who have their new paramours, Snow White and Sleeping Beauty, on their arms) return to share one last set of morals with the audience. The survivors resolve to band together and rebuild. The spirit of the Baker's Wife appears to comfort her mourning husband advising her husband to tell their child their story. The Baker begins to tell the story using the same words as the narrator did at the beginning of the play as the Witch appears with the final moral: "Careful the things you say, Children Will Listen." All join in on a last reprise of the title song, surmising that we all must venture into the woods while remembering the choices we've made and learning from each endeavor we come across ("Finale"). As the characters conclude the song singing, "Into the woods, and out of the woods and happily ever after", Cinderella closes the show with one last "I wish..."

text: Productions[edit]

text: Pre-Broadway San Diego production[edit]

text: Into the Woods premiered at the Old Globe Theatre in San Diego, California, on December 4, 1986 and ran for 50 performances under the direction of James Lapine.[4] Many of the performers from that production appeared in the Broadway cast but John Cunningham, who played the Narrator, Wolf and Steward and George Coe, as the Mysterious Man and Cinderella's Father were replaced by Tom Aldredge, who played the Narrator and Mysterious Man. Kenneth Marshall as Cinderella's Prince was replaced by Robert Westenberg (who also played the Wolf), LuAnne Ponce, who played Little Red Ridinghood, was replaced by Danielle Ferland, Ellen Foley, the Witch, was replaced by Bernadette Peters. Kay McClelland, who played both Rapunzel and the Stepsister Florinda, stayed with the cast but only played Florinda, Rapunzel being played by Pamela Winslow.

text: The show underwent much evolution, but the most notable change was the addition of the song "No One Is Alone" in the middle of the run.

text: Original Broadway production[edit]

text: Into The Woods opened on Broadway at the Martin Beck Theatre on November 5, 1987, and closed on September 3, 1989 after 765 performances. It starred Bernadette Peters, Joanna Gleason, Chip Zien, Kim Crosby, Ben Wright, Danielle Ferland, Chuck Wagner, Merle Louise, Tom Aldredge, and Robert Westenberg. The musical was directed by James Lapine, with musical staging by Lar Lubovitch, settings by Tony Straiges, lighting by Richard Nelson, costumes by Ann Hould-Ward (based on original concepts by Patricia Zipprodt and Ann Hould-Ward), and makeup by Jeff Raum. The original production won the 1988 New York Drama Critics' Circle Award and the Drama Desk Award for Best Musical, and the original cast recording won a Grammy Award. The show was nominated for ten Tony Awards, and won three: Best Score (Stephen Sondheim), Best Book (James Lapine) and Best Actress in a Musical (Joanna Gleason).

text: Peters left the show after almost five months due to a prior commitment to film the movie Slaves of New York.[5] The Witch was then played by: Betsy Joslyn (from March 30, 1988);[6]Phylicia Rashad (from April 14, 1988); Betsy Joslyn (from July 5, 1988); Nancy Dussault (from December 13, 1988);[7] and Ellen Foley (from August 1, 1989 until the closing).[8]

text: Other cast replacements included Dick Cavett as the Narrator (as of July 19, 1988) (for a temporary engagement after which Tom Aldredge returned), Edmund Lyndeck as the Mysterious Man, Patricia Ben Peterson as Cinderella, LuAnne Ponce returning to the role of Little Red Ridinghood, Jeff Blumenkrantz as Jack, Marin Mazzie as Rapunzel (as of March 7, 1989) and Kay McClelland, Lauren Mitchell, Cynthia Sikes and Mary Gordon Murray as the Baker's Wife.[8]

text: In 1989, from May 23 to May 25 the full original cast (with the exception of Cindy Robinson as Snow White instead of Jean Kelly) reunited for three performances to tape the musical in its entirety for the Season 10 premiere episode of PBS’s American Playhouse, which first aired on March 15, 1991. The show was filmed professionally with seven cameras on the set of the Martin Beck Theater in front of an audience with certain elements changed from its standard production only slightly for the recording in order to better fit the screen rather than the stage such as the lighting, minor costume differences, and others. There were also pick up shots not filmed in front of an audience for various purposes. This video has since been released on Tape and DVD and on occasion, remastered and re-released.[9]

text: Tenth Anniversary benefit performances were held on November 9, 1997 at The Broadway Theatre (New York), with most of original cast.[10] Original cast understudies Chuck Wagner and Jeff Blumenkrantz played Cinderella's Prince/Wolf and The Steward in place of Robert Westenburg and Philip Hoffmann and Jonathan Dokuchitz (who joined the broadway production as an understudy in 1989) played Rapunzel's Prince in place of Wagner. This concert featured the duet "Our Little World," written for the first London production of the show.

text: On November 9, 2014, most of the original cast reunited for two reunion concerts and discussion in Costa Mesa, California. Mo Rocca hosted the reunion and interviewed Stephen Sondheim and James Lapine as well as each cast member. Appearing were Bernadette Peters, Joanna Gleason, Chip Zien, Danielle Ferland, Ben Wright and real life husband and wife, Robert Westenberg and Kim Crosby.[11] The same group presented this discussion/concert on June 21, 2015 at the Brooklyn Academy of Music, New York City.[12]

text: 1988 US tour production[edit]

text: A United States tour began on November 22, 1988 with Cleo Laine playing the Witch, replaced by Betsy Joslyn in May 1989. Rex Robbins played the Narrator and Mysterious Man, Charlotte Rae played Jack's Mother, and the Princes were played by Chuck Wagner and Douglas Sills. The set was almost completely reconstructed, and there were certain changes to the script, changing certain story elements. The 10-month tour[13] played cities around the country, such as Fort Lauderdale, Florida, Los Angeles, and Atlanta.[14][15] The tour ran at the John F. Kennedy Center for the Performing Arts from June 1989 to July 16, 1989, with the reviewer for The Washington Post writing: "his lovely score -- poised between melody and dissonance -- is the perfect measure of our tenuous condition. The songs invariably follow the characters' thinking patterns, as they weigh their options and digest their experience. Needless to say, that doesn't make for traditional show-stoppers. But it does make for vivacity of another kind. And Sondheim's lyrics...are brilliant.... I think you'll find these cast members alert and engaging."[16]

text: Original London production[edit]

text: The original West End production opened on September 25, 1990 at the Phoenix Theatre and closed on February 23, 1991 after 197 performances. It was directed by Richard Jones, and produced by David Mirvish, with choreography by Anthony Van Laast, costumes by Sue Blane and orchestrations by Jonathan Tunick. The cast featured Julia McKenzie as the Witch, Ian Bartholomew as the Baker, Imelda Staunton as the Baker's Wife and Clive Carter as the Wolf/Cinderella's Prince. The show received seven Olivier Award nominations in 1991, winning for Best Actress in a Musical (Staunton) and Best Director of a Musical (Jones).

text: The song "Our Little World" was added.[17] This song was a duet sung between the Witch and Rapunzel giving further insight into the care the Witch has for her self-proclaimed daughter and the desire Rapunzel has to see the world outside of her tower. The overall feel of the show was a lot darker than that of the original Broadway production. Critic Michael Billington wrote "But the evening's triumph belongs also to director Richard Jones, set designer Richard Hudson and costume designer Sue Blane who evoke exactly the right mood of haunted theatricality. Old-fashioned footlights give the faces a sinister glow. The woods themselves are a semi-circular, black-and-silver screen punctuated with nine doors and a crazy clock: they achieve exactly the 'agreeable terror' of Gustave Dore's children's illustrations. And the effects are terrific: doors open to reveal the rotating magnified eyeball or the admonitory finger of the predatory giant."[18]

text: 1998 London revival production[edit]

text: A new intimate production of the show opened (billed as the first London revival) at the Donmar Warehouse on 16 November 1998, closing on 13 February 1999. This revival was directed by John Crowley and designed by his brother, Bob Crowley. The cast included Clare Burt as the Witch, Nick Holder as the Baker, Sophie Thompson as the Baker's Wife, Jenna Russell as Cinderella, Sheridan Smith as Little Red Ridinghood and Frank Middlemass as the Narrator/Mysterious Man.[19] Russell later appeared as the Baker's Wife in the 2010 Regent's Park production. Thompson won the 1999 Olivier Award for Best Actress in a Musical for her performance, while the production itself was nominated for Outstanding Musical Production.

text: 2002 Broadway revival production[edit]

text: A revival opened at the Ahmanson Theatre in Los Angeles, running from February 1, 2002 to March 24, 2002. This production was directed and choreographed with the same principal cast that later ran on Broadway.[20]

text: The 2002 Broadway revival, directed by James Lapine and choreographed by John Carrafa, began previews on April 13, 2002 and opened April 30, 2002 at the Broadhurst Theatre, closing on December 29 after a run of 18 previews and 279 regular performances. It starred Vanessa L. Williams as the Witch, John McMartin as the Narrator, Stephen DeRosa as the Baker, Kerry O'Malley as the Baker's Wife, Gregg Edelman as Cinderella's Prince/Wolf, Christopher Sieber as Rapunzel's Prince/Wolf, Molly Ephraim as Little Red Ridinghood, Adam Wylie as Jack and Laura Benanti as Cinderella. Judi Dench provided the pre-recorded voice of the Giant.

text: Lapine revised the script slightly for this production, with a cameo appearance of the Three Little Pigs restored from the earlier San Diego production.[21][22][23] Other changes, apart from numerous small dialogue changes, included the addition of the song "Our Little World," a duet for the Witch and Rapunzel written for the first London production, the addition of a second wolf in the song "Hello Little Girl" who competes for Little Red's attention with the first Wolf, the portrayal of Jack's cow by a live performer (Chad Kimball) in an intricate costume and new lyrics were written for "The Last Midnight," now sung by the Witch as a menacing lullaby to the Baker's baby.[23]

text: This production featured Scenic design by Douglas W. Schmidt, Costume design by Susan Hilferty, Lighting design by Brian MacDevitt, Sound design by Dan Moses Schreier and Projection design by Elaine J. McCarthy. The revival won the Tony Awards for the Best Revival of a Musical and Best Lighting Design.[24] This Broadway revival wardrobe is on display at the Costume World in South Florida.

text: London Royal Opera House, 2007[edit]

text: A revival at the Royal Opera House's Linbury Studio in Covent Garden had a limited run from June 14 through June 30, 2007 followed by a short stint at The Lowry theatre, Salford Quays, Manchester between 4–7 July. The production mixed Opera singers, Musical Theatre actors as well as Film and television actors; including Anne Reid as Jack's Mother and Gary Waldhorn as the Narrator. The production itself, directed by Will Tuckett, was met with mixed reviews; although there were clear stand out performances.[25][26][27]

text: The production completely sold out three weeks before opening. As this was an 'Opera' production, the show and its performers were overlooked for the 'Musical' nominations in the 2008 Olivier Awards. This production featured Suzie Toase (Little Red), Peter Caulfield (Jack), Beverley Klein (Witch), Anna Francolini (Baker's Wife), Clive Rowe (Baker), Nicholas Garrett (wolf) and Lara Pulver (Lucinda). This was the second Sondheim musical to be staged by the Opera House, following 2003's Sweeney Todd.

text: Regent's Park Open Air Theatre production, 2010[edit]

text: The Olivier Award winning Regent's Park Open Air Theatre production, directed by Timothy Sheader and choreographed by Liam Steel, ran for a six-week limited season from 6 August to 11 September 2010. The cast included Hannah Waddingham as the Witch, Mark Hadfield as the Baker, Jenna Russell as the Baker’s wife, Helen Dallimore as Cinderella, and Judi Dench as the recorded voice of the Giant. Gareth Valentine was the Musical Director.[28][29] The musical was performed outdoors in a wooded area. Whilst the book remained mostly unchanged, the subtext of the plot was dramatically altered by casting the role of the Narrator as a young school boy lost in the woods following a family argument – a device used to further illustrate the musical’s themes of parenting and adolescence.

text: The production opened to wide critical acclaim, much of the press commenting on the effectiveness of the open air setting. The Telegraph reviewer, for example, wrote: "It is an inspired idea to stage this show in the magical, sylvan surroundings of Regent's Park, and designer Soutra Gilmour has come up with a marvellously rickety, adventure playground of a set, all ladders, stairs and elevated walkways, with Rapunzel discovered high up in a tree."[30] The New York Times reviewer commented: "The natural environment makes for something genuinely haunting and mysterious as night falls on the audience..."[31] Stephen Sondheim attended twice, reportedly extremely pleased with the production. The production also won the Laurence Olivier Award for Best Musical Revival and Michael Xavier, who played Cinderella's Prince and the Wolf, was nominated for the Laurence Olivier Award for Best Performance in a Supporting Role in a Musical.

text: The production was recorded in its entirety.

text: Central Park Delacorte Theater production, 2012[edit]

text: The Regent's Park Open Air Theatre production transferred to the Public Theater's 2012 summer series of free performances Shakespeare in the Park at the Delacorte Theater in Central Park, New York, with an American cast as well as new designers.[32] Sheader again was the director and Steel served as co-director and choreographer. Performances were originally to run from July 24 (delayed from July 23 due to the weather) to August 25, 2012, but the show was extended till September 1, 2012.[33] The cast included Amy Adams as The Baker's Wife, Donna Murphy as The Witch, Denis O'Hare as The Baker, Chip Zien as the Mysterious Man/Cinderella's Father, Jack Broderick as the young Narrator, Gideon Glick as Jack, Cooper Grodin as Rapunzel’s Prince, Ivan Hernandez as Cinderella’s Prince/Wolf, Tina Johnson as Granny, Josh Lamon as the Steward, Jessie Mueller as Cinderella, Laura Shoop as Cinderella’s Mother, Tess Soltau as Rapunzel and Glenn Close as the Voice of the Giant. The set was a "collaboration between original Open Air Theatre designer Soutra Gilmour and...John Lee Beatty, [and] rises over 50 feet in the air, with a series of tree-covered catwalks and pathways."[34] The production was dedicated to Nora Ephron, who died earlier in 2012. In February 2012 and in May 2012, reports of a possible Broadway transfer surfaced with the production's principal actors in negotiations to reprise their roles.[35][36][37] In January 2013, it was announced that the production will not transfer to Broadway due to scheduling conflicts.[38]

text: Other productions[edit]

text: A production played in Sydney from 19 March 1993 to 5 June 1993 at the Drama Theatre, Sydney Opera House. It starred Judi Connelli, Geraldine Turner, Tony Sheldon, Philip Quast, Pippa Grandison, and DJ Foster.[39] A Melbourne Theatre Company played from 17 January 1998 to 21 February 1998 at the Playhouse, Victorian Arts Centre. It starred Rhonda Burchmore, John McTernan, Gina Riley, Lisa McCune, Peter Carroll, Tamsin Carroll and Robert Grubb.[40][41]

text: The first professional Spanish language production, "Dentro del Bosque", was produced by University of Puerto Rico Repertory Theatre and premiered in San Juan at Teatro de la Universidad (University Theatre) on March 14, 2013 The cast included Víctor Santiago as Baker, Ana Isabelle as Baker's Wife and Lourdes Robles as the Witch[42]

text: The Roundabout Theatre production, directed by Noah Brody and Ben Steinfeld, began performances Off-Broadway on December 19, 2014 and officially opened on January 22, 2015, at the Laura Pels Theatre.[43] [44] Like the original Broadway production 28 years prior, this production had a try-out run at the Old Globe Theatre in San Diego, California from July 12, 2014 – August 17, 2014 with the opening night taking place on July 17.[45] This new version is completely minimalistically reimagined by the Fiasco Theater Company, featuring only ten actors playing multiple parts, and one piano accompanist.[46]

text: The DreamCatcher Theatre production opened in January 2015 and played a sold out run at the Adrienne Arsht Center in Miami, Florida. Tituss Burgess starred as The Witch, the first male actor to do so.[47] The cast also included Arielle Jacobs as The Bakers Wife. The musical had a production at The Muny in Forest Park, St. Louis, Missouri running from July 21 through 28 2015. The cast included Heather Headley (Witch), Erin Dilly (Baker's Wife), Rob McClure (Baker), Ken Page (Narrator), Elena Shaddow (Cinderella).[48] The Hart House Theatre production in Toronto, Ontario from January 15, 2016 to January 30, 2016.[49] A production ran at the West Yorkshire Playhouse in Leeds in a collaboration with Opera North from 2 June 2016 to 25 June 2016.[50]

text: 2016 Tel Aviv production[edit]

text: The Israeli premiere, אל תוך היער (El Toch Ha-ya-ar), opened in Tel Aviv on August 2016 for a limited run produced by The Tramp Productions and Stuff Like That[51], starring Roi Dolev as The Witch, the second male actor to do so.[52]

text: Casting history[edit]

text: The principal original casts of notable stage productions of Into the Woods

text:
Role
Broadway
First National Tour
West End
Broadway Revival
West End Revival
DagollDagomCatalan Production
"Boscos endins"

Regent's Park Production[28]
Central Park Production[34]
Roundabout Theatre Production
Australian Production[53]
Fiasco
National tour*

1987
1988
1990
2002
2007
2007
2010
2012
2014
2014
2016

Narrator
Tom Aldredge
Rex Robbins
Nicholas Parsons
John McMartin
Gary Waldhorn
Jordi Estadella/ Ferran Frauca
Eddie Manning
Ethan Beer
Joshua Swinney
Jack Broderick
Ensemble
John Diedrich
Evan Rees

Cinderella
Kim Crosby
Kathleen Rowe McAllen
Jacqui Dankworth
Laura Benanti
Gillian Kirkpatrick
Gisela
Helen Dallimore
Jessie Mueller
Claire Karpen
Lucy Maunder
Laurie
Veldheer

Jack
Ben Wright
Robert Duncan McNeill
Richard Dempsey
Adam Wylie
Peter Caulfield
Marc Pujol
Ben Stott
Gideon Glick
Patrick Mulryan
Rowan Witt
Phillipe arroyo

Baker
Chip Zien
Ray Gill
Ian Bartholomew
Stephen DeRosa
Clive Rowe
Josep Mª Gimeno
Mark Hadfield
Denis O'Hare
Ben Steinfeld
David Harris
Evan
Harrington

Baker's Wife
Joanna Gleason
Mary Gordon Murray
Imelda Staunton
Kerry O'Malley
Anna Francolini
Annabel Totusaus
Jenna Russell
Amy Adams
Jessie Austrian
Christina O'Neil
Eleasha
Gamble

Stepmother
Joy Franz
Jo Ann Cunningham
Ann Howard
Pamela Myers
Elizabeth Brice
Clara del Ruste
Gaye Brown
Ellen Harvey
Liz Hayes
Antoinette Halloran
Bonne Kramer

Florinda
Kay McClelland
Susan Gordon-Clark
Elizabeth Brice
Tracy Nicole Chapman
Louise Bowden
Anna Ventura
Amy Ellen Richardson
Bethany Moore
Andy Grotelueschen
Elise McCann
Darick Pead

Lucinda
Lauren Mitchell
Danette Cuming
Liza Sadovy
Amanda Naughton
Lara Pulver
Laura Ventura
Amy Griffiths
Jennifer Rias
Noah Brody
Angela Scundi
Anthony Chatmon

Jack's Mother
Barbara Bryne
Charlotte Rae
Patsy Rowlands
Marylouise Burke
Anne Reid
Teresa Vallicrosa
Marilyn Cutts
Kristine Zbornik
Liz Hayes
Melissa Langton
Bonne
Kramer

Little Red Ridinghood
Danielle Ferland
Tracy Katz
Tessa Burbridge
Molly Ephraim
Suzie Toase
Anna Moliner
Beverly Rudd
Sarah Stiles
Emily Young
Josie Lane
Lisa Helmi Johansan

Witch
Bernadette Peters
Cleo Laine
Julia McKenzie
Vanessa Williams
Beverly Klein
Mone
Hannah Waddingham
Donna Murphy
Jennifer Mudge
Queenie van de Zandt
Vanessa
Reseland

Cinderella's Father
Edmund Lyndeck
Don Crosby
John Rogan
Dennis Kelly
Martin Nelson
Sergi Albert
N/A
Chip Zien
David Rogers-Smith

Cinderella's Mother
Merle Louise
Nora Mae Lyng
Eunice Gayson[54]
Laura Benanti[55]
Gemma Wardle
Maria del Mar Maestu
Gemma Wardle
Laura Shoop
Ensemble
Noni McCallum
N/A

Mysterious Man/Baker's Father
Tom Aldredge
Rex Robbins
John Rogan
John McMartin
Martin Nelson
Ferran Castells
Billy Boyle
Chip Zien
Paul L. Coffey
John Diedrich
Fred Rose

Big Bad Wolf
Robert Westenberg
Chuck Wagner
Clive Carter
Gregg Edelman
Christopher Sieber
Nicholas Garrett
Carlos Gramaje
Michael Xavier
Ivan Hernandez
Noah Brody
Matthew McFarlane
Anthony
Chatmon

Rapunzel
Pamela Winslow
Marguerite Lowell
Mary Lincoln
Melissa Dye
Christina Haldane
Maria del Mar Maestu
Alice Fearn
Tess Soltau
Emily Young
Olivia Cranwell
Lisa Helmi Johansan

Rapunzel's Prince
Chuck Wagner
Douglas Sills
Mark Tinkler
Christopher Sieber
Nic Greenshields
Sergi Albert
Simon Thomas
Cooper Grodin
Andy Groutelueschen
Jeremy Kleeman
Darick Pead

Granny
Merle Louise
Nora Mae Lyng
Eunice Gayson
Pamela Myers
Linda Hibberd
Clara del Ruste
Valda Aviks
Tina Johnson
Claire Karpen
Noni McCallum
Laurie Veldheer

Cinderella's Prince
Robert Westenberg
Chuck Wagner
Clive Carter
Gregg Edelman
Nicholas Garrett
Carlos Gramaje
Michael Xavier
Ivan Hernandez
Noah Brody
Matthew McFarlane
Anthony
Chatmon

Steward
Philip Hoffman
Marcus Olson
Peter Ledbury
Trent Armand Kendall
Byron Watson
Ferran Castells
Mark Goldthorp
Josh Lamon
Patrick Mulryan
David Rogers-Smith
Phillipe Arroyo

Sleeping Beauty
Maureen Davis
N/A
Kate Arneil
N/A
N/A
Unknown
Alice Fearn
Tess Soltau
N/A
N/A
N/A

Snow White
Jean Kelly (Cindy Robinson in the video)
N/A
Megan Kelly
N/A
N/A
Unknown
Sophie Caton
Victoria Cook
N/A
N/A
N/A

Giant (voice)
Merle Louise
Nora Mae Lyng
Eunice Gayson
Judi Dench
(Pre-recorded)
Linda Hibberd
Unknown
Judi Dench
(Pre-recorded)[56]
Glenn Close
(Pre-recorded)[57]
Ensemble
Noni McCallum

text: *In the 2016 national tour, the show was minimalistic with only 11 cast members (Including one musician) therefore, some actors were cast in multiple roles.

text: Adaptations[edit]

text: Junior version[edit]

text: The musical has been adapted into a child-friendly version for use by schools and young companies, with the second act completely removed, as well as almost half the material from the first. The show is shortened from the original 2 and a half hours to fit in a 50-minute range, and the music transposed into keys that more easily fit young voices.[58]

text: Film[edit]

text: A theatrical film adaptation of the musical was produced by Walt Disney Pictures, directed by Rob Marshall, and starring Meryl Streep, Emily Blunt, James Corden, Anna Kendrick, Chris Pine, Tracey Ullman, Christine Baranski, Lilla Crawford, Daniel Huttlestone, MacKenzie Mauzy, Billy Magnussen, and Johnny Depp.[59][60] The film was released on December 25, 2014.[61] It was a critical and commercial hit, grossing over $213 million worldwide. For her performance as the Witch, Streep was nominated for the Academy Award for Best Supporting Actress.[62]

text: Musical numbers[edit]

text:
Act I

"Act I Prologue: Into the Woods" – Narrator, Cinderella, Jack, Baker, Baker's Wife, Stepmother, Florinda, Lucinda, Jack's Mother, Little Red Ridinghood, Witch, Cinderella's Father
"Cinderella at the Grave" – Cinderella, Cinderella's Mother
"Hello, Little Girl" – Wolf and Little Red Ridinghood
"The Spell is on My House (Reprise)" – Baker and Baker's Wife
"I Guess This is Goodbye" – Jack
"Maybe They're Magic" – Baker's Wife, Baker
"Our Little World" – Rapunzel and Witch
"Maybe They're Magic (Reprise)" – Baker
"I Know Things Now" – Little Red Ridinghood
"A Very Nice Prince" – Cinderella and Baker's Wife
"First Midnight/Into the Woods (Reprise)" – Company
"Giants in the Sky" – Jack
"Agony" – Cinderella's Prince and Rapunzel's Prince
"A Very Nice Prince (Reprise)" – Cinderella and Baker's Wife
"It Takes Two" – Baker and Baker's Wife
"Second Midnight" – Witch, Cinderella, Cinderella's Prince, Rapunzel's Prince, Stepmother, Florinda, Lucinda, Granny
"Stay with Me" – Witch, Rapunzel
"On the Steps of the Palace" – Cinderella
"Careful, My Toe/The True Bride" - Cinderella’s Stepmother, Florinda, Lucinda, Cinderella's Mother
"Act I Finale: Ever After" – Narrator, Cinderella, Cinderella's Prince, Baker, Baker's Wife and Company

Act I Prologue parts:

Once Upon a Time / I Wish
Birds in the Sky
There Are Bugs on Her Dugs
Into the Woods (Little Red)
Fly Birds, Back to the Sky
Witch's Entrance / Witch's Rap
Jack, Jack, Jack, Head in a Sack / Into the Woods (Jack's Mother and Jack)
You Wish to Have the Curse Reversed?
Ladies, Our Carriage Awaits
The Spell is on My House
Into the Woods (Company)

Act I Finale parts:

So Happy - short version
Happy Ever After
Unhappy Ever After
Into the Woods (Reprise)

Act II

"Act II Prologue: So Happy" – Company
"Agony" (Reprise) – Cinderella's Prince and Rapunzel's Prince
"Witch's Lament" (Reprise of Stay with Me) – Witch
"Any Moment" – Cinderella's Prince and Baker's Wife
"Moments in the Woods" – Baker's Wife
"Your Fault" – Jack, Baker, Little Red Ridinghood, Witch and Cinderella
"Last Midnight" – Witch
"No More" – Baker and Mysterious Man
"No One is Alone" – Cinderella, Baker, Little Red Ridinghood and Jack
"Act II Finale: Children Will Listen" – Company

Act II Prologue parts:

Once Upon a Time - later / I Wish
So Happy
Witch's Rap (Reprise)
Into the Woods (Reprise)

Act II Finale:

Reprise of First and Second Midnight
Maybe I Just Wasn't Meant to Have Children?
No One is Alone (Reprise)
Children Will Listen (Reprise of Stay with Me and Witch's Lament)
Into the Woods (Finale Reprise)

text: Analysis of book and music[edit]

text: In most productions of Into the Woods, including the original Broadway production, several parts are doubled. Cinderella's Prince and the Wolf, who share the characteristic of being unable to control their appetites, are usually played by the same actor. Similarly, the Narrator and the Mysterious Man, who share the characteristic of commenting on the story while avoiding any personal involvement or responsibility. Granny and Cinderella's Mother, who are both matriarchal characters in the story, are also typically played by the same person, who also gives voice to the nurturing but later murderous Giant's Wife.

text: The show covers multiple themes: growing up, parents and children, accepting responsibility, morality, and finally, wish fulfillment and its consequences.[63] The Time Magazine reviewers wrote that the play's "basic insight... is at heart, most fairy tales are about the loving yet embattled relationship between parents and children. Almost everything that goes wrong—which is to say, almost everything that can—arises from a failure of parental or filial duty, despite the best intentions."[64] Stephen Holden wrote that the themes of the show include parent-child relationships and the individual's responsibility to the community. The witch isn't just a scowling old hag, but a key symbol of moral ambivalence. James Lapine said that the most unpleasant person (the Witch) would have the truest things to say and the "nicer" people would be less honest.[65] In the Witch's words: "I'm not good; I'm not nice; I'm just right."

text: Given the show's debut during the 1980s, the height of the US AIDS crisis, the work has been interpreted to be a parable about AIDS.[66][67] In this interpretation, the Giant's Wife serves as a metaphor for HIV/AIDS, killing good and bad characters indiscriminately and forcing the survivors to band together to stop the threat and move on from the devastation, reflecting the devastation to many communities during the AIDS crisis.[67][68][69][70] When asked about the thematic connection, Sondheim acknowledged that initial audiences interpreted it as an AIDS metaphor, but stated that the work was not intended to be specific.[67]

text: The score is also notable in Sondheim's output, because of its intricate reworking and development of small musical motifs. In particular, the opening words, "I wish", are set to the interval of a rising major second and this small unit is both repeated and developed throughout the show, just as Lapine's book explores the consequences of self-interest and "wishing." The dialogue in the show is characterized by the heavy use of syncopated speech. In many instances, the characters' lines are delivered with a fixed beat that follows natural speech rhythms, but is also purposely composed in eighth, sixteenth, and quarter note rhythms as part of a spoken song. Like many Sondheim/Lapine productions, the songs contain thought-process narrative, where characters converse or think aloud.

text: Sondheim drew on parts of his troubled childhood when writing the show. In 1987, he told Time Magazine that the "father uncomfortable with babies [was] his father, and [the] mother who regrets having had children [was] his mother."[71]

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
Year
Award
Category
Nominee
Result

1988
Tony Award
Best Musical
Nominated

Best Original Score
Stephen Sondheim
Won

Best Book of a Musical
James Lapine
Won

Best Direction of a Musical
Nominated

Best Performance by a Leading Actress in a Musical
Joanna Gleason
Won

Best Performance by a Featured Actor in a Musical
Robert Westenberg
Nominated

Best Choreography
Lar Lubovitch
Nominated

Best Scenic Design
Tony Straiges
Nominated

Best Costume Design
Ann Hould-Ward
Nominated

Best Lighting Design
Richard Nelson
Nominated

Drama Desk Award
Outstanding Musical
Won

Outstanding Music
Stephen Sondheim
Nominated

Outstanding Lyrics
Won

Outstanding Book of a Musical
James Lapine
Won

Outstanding Director of a Musical
Nominated

Outstanding Actress in a Musical
Bernadette Peters
Nominated

Outstanding Featured Actor in a Musical
Robert Westenberg
Won

Outstanding Featured Actress in a Musical
Joanna Gleason
Won

Danielle Ferland
Nominated

Outstanding Set Design
Tony Straiges
Nominated

Outstanding Costume Design
Ann Hould-Ward
Nominated

Outstanding Lighting Design
Richard Nelson
Nominated

Outstanding Orchestrations
Jonathan Tunick
Nominated

text: Original London production[edit]

text:
Year
Award
Category
Nominee
Result

1991
Laurence Olivier Award
Best New Musical
Nominated

Best Director of a Musical
Richard Jones
Won

Best Actor in a Musical
Ian Bartholomew
Nominated

Best Actress in a Musical
Imelda Staunton
Won

Julia McKenzie
Nominated

Best Performance in a Supporting Role in a Musical
Clive Carter
Nominated

Best Costume Design
Sue Blane
Nominated

text: 1999 London revival[edit]

text:
Year
Award
Category
Nominee
Result

1999
Laurence Olivier Award
Outstanding Musical Production
Nominated

Best Actress in a Musical
Sophie Thompson
Won

text: 2002 Broadway revival[edit]

text:
Year
Award
Category
Nominee
Result

2002
Tony Award
Best Revival of a Musical
Won

Best Performance by a Leading Actor in a Musical
John McMartin
Nominated

Best Performance by a Leading Actress in a Musical
Vanessa L. Williams
Nominated

Best Performance by a Featured Actor in a Musical
Gregg Edelman
Nominated

Best Performance by a Featured Actress in a Musical
Laura Benanti
Nominated

Best Direction of a Musical
James Lapine
Nominated

Best Choreography
John Carrafa
Nominated

Best Scenic Design
Douglas W. Schmidt
Nominated

Best Costume Design
Susan Hilferty
Nominated

Best Lighting Design
Brian MacDevitt
Won

Drama Desk Award
Outstanding Revival of a Musical
Won

Outstanding Actress in a Musical
Laura Benanti
Nominated

Vanessa L. Williams
Nominated

Outstanding Featured Actor in a Musical
Gregg Edelman
Nominated

Outstanding Featured Actress in a Musical
Kerry O'Malley
Nominated

Outstanding Director of a Musical
James Lapine
Nominated

Outstanding Set Design
Douglas W. Schmidt
Won

Outstanding Costume Design
Susan Hilferty
Nominated

Outstanding Sound Design
Dan Moses Schreier
Won

text: 2010 London revival[edit]

text:
Year
Award
Category
Nominee
Result

2011
Laurence Olivier Award
Best Musical Revival
Won

Best Performance in a Supporting Role in a Musical
Michael Xavier
Nominated

text: 2012 New York revival[edit]

text:
Year
Award
Category
Nominee
Result

2013
Drama Desk Award
Outstanding Actress in a Musical
Donna Murphy
Nominated

text: 2014 Australian production[edit]

text:
Year
Award
Category
Nominee
Result

2015
Helpmann Award
Best Female Actor in a Supporting Role in a Musical
Lucy Maunder
Nominated

Best Direction of a Musical
Stuart Maunder
Nominated

text: 2015 Off-Broadway production[edit]

text:
Year
Award
Category
Nominee
Result

2015
Drama Desk Award
Outstanding Revival of a Musical
Nominated

Drama League Award
Outstanding Revival of a Broadway or Off-Broadway Musical
Nominated