The MCR Interview:
Composing the Magic of OZ: Dr. Edward W. Hardy on His Music for The Woodsman
Street Theatre’s upcoming season is soon to begin with the play The Woodsman, which tells the backstory story of the Tin Man through movement, puppetry, and music. Dr. Edward W. Hardy wrote the music for the Obie Award-winning original production, as well as serving as the original music director and violinist. He kindly took the time to speak with us about his work in creating and developing this production, as well as his work as a composer and performer.
Grace Krenz (GK): Tell us about The Woodsman, and how the play came into being.
Dr. Edward W. Hardy (EH): The Woodsman explores the story of how Nick Chopper becomes the Tin Woodman, the beloved character from The Wonderful Wizard of Oz. The production is essentially like a silent film brought to the stage, relying almost entirely on music, puppetry, movement, and visual storytelling. Because there is very little spoken dialogue, the music became one of the primary ways audiences connect emotionally with each character. It also guides the audience through different perspectives, sometimes placing them in the middle of the action and other times allowing them to observe from a distance, while hinting at what’s to come through the score alone.
I was part of the original creative team from the project’s inception, collaborating on ideas about how the puppets could come to life through breath, movement, and music. One fun fact is that I composed far more music than anyone has ever heard because the script evolved dramatically during development. Early versions contained much more dialogue, but as the production transformed into an almost entirely wordless work, much of the music changed with it.
I’ve always felt that the emotional language of The Woodsman is shaped by the score. Rather than simply accompanying the action, the music expresses what the characters cannot say with words. Since the Wicked Witch of the East has prevented everyone in Munchkinland from speaking, in many ways, the music tells the story.
GK: How do puppetry and pantomime cooperate with your musical ideas, and how did this creative collaboration influence the composing process?
EH: Writing for The Woodsman required me to think more like a filmmaker than a traditional theater composer. I conceived the score as a dramatic narrative rather than simply incidental music. The collaboration between the puppetry and pantomime helped me understand what each moment of this nearly silent production required and what my role was in guiding the audience’s emotional journey. Every musical phrase had to communicate intention, emotion, pacing, and transformation.
I spent a great deal of time in rehearsals watching how the puppets moved, how silence functioned, and how even a single breath could change the emotional weight of a scene. Sometimes the music would lead the movement, while at other times the movement inspired changes to the score. It became a true collaboration where music, puppetry, movement, and choreography were all speaking the same language.
One experience that has stayed with me happened during our run at 59E59 Theaters, where I served as the violinist and music director. A school group attended one of our performances that included several blind students. While I don’t think the news changed my castmates’ approach, it profoundly affected mine. I suddenly felt an even greater responsibility to communicate every emotion I could through the violin because these audience members would experience the story almost entirely through sound. That performance reaffirmed something I had believed throughout the composing process: the score had become another voice within the production, expressing what dialogue never could.
GK: The Woodsman tells an original story within the world of Oz. How did you approach creating a musical identity that felt both familiar and entirely its own, and how has The Woodsman influenced the way you approach composition today?
EH: Years ago, I was fascinated by the idea of method acting, and I found myself applying a similar philosophy to composition. My goal was to immerse myself completely in L. Frank Baum’s world and imagine what it would feel and sound like to live in a magical place like Oz. Since I didn’t grow up reading fairy tales, I had to convince myself that every emotion, every action, and every scene was real. When I read stories that inspire me, I often begin hearing music almost immediately. Baum’s writing was full of colors, textures, and emotions that seemed to arrive with their own soundtrack. Then I would ask myself: If I were Nick, Nimmie, the Tinker, the Witch, or even an audience member, what would I hear? What would I feel?
Those questions shaped nearly every note I wrote. I was constantly asking myself things like, What kind of music would make the Witch’s presence feel unsettling? Ah! Slow dissonances with three plucks on my violin’s lowest string. What would a charging Kalidah sound like? I discovered that pulling a string through the center of a drum created an eerie, terrifying sound. Combined with fast, fragmented musical ideas that built into a heavy, triumphant climax, I was able to create something that suggested the power of a full bass section while working within the expressive possibilities of a single violin.
That process fundamentally changed the way I compose today. I begin by understanding the emotional weight of every character before writing a single note. I compose individual themes, weave them together through leitmotifs and transitional material, and intentionally write far more music than I expect to use. I’d much rather discover the emotional world of a story through composition and refine it later than stop searching too soon.
GK: How familiar with Frank L. Baum’s stories were you before you became involved in the project?
EH: Like many people, I grew up knowing The Wizard of Oz, although my strongest connection as a child was actually through The Wiz. Becoming involved with The Woodsman encouraged me to dive much deeper into L. Frank Baum’s original stories and the mythology surrounding Oz. I found it fascinating that there was so much emotional depth surrounding the Tin Woodman’s origin that audiences rarely have the opportunity to explore.
One of the things I remember most about reading Baum’s work was how much music I began hearing in my mind. For me, composition begins with listening before I ever write a note. That experience usually only happens when I’m intentionally thinking about composing music to a text, but Baum’s writing was filled with colors, textures, and emotions that seemed to naturally suggest their own musical language.
The one major theme in The Woodsman that was not directly inspired by Baum’s writing is the love theme between Nick and Nimmie. That theme was inspired by the main melody from Tchaikovsky’s Romeo and Juliet Fantasy-Overture, a beautiful love theme that I first encountered as a child through an episode of SpongeBob SquarePants. Years later, that same melody returned to me and became part of one of the most emotional themes in The Woodsman. Sometimes inspiration arrives from the most unexpected places—and who would have guessed that a childhood cartoon would help shape a major musical theme?
GK: As a composer, performer, and actor, you have been heavily involved in many aspects of this play. Now, more than a decade later, what are you most proud of?
EH: I am honored that one of my earliest compositions, written during my undergraduate years, continues to impact the theater community more than a decade later. Seeing the score continue to find new life through productions, dance performances, recitals, and concerts has been one of the greatest rewards of my career. The sheet music was released several years ago, and watching young artists and established professionals discover, perform, adapt, and share the music continues to inspire me.
One of the most meaningful parts of this journey has been seeing the work reach artists who connect with The Woodsman in their own unique ways. Through licensing the score, purchasing sheet music, creating fan art, or developing their own interpretations, artists continue to capture the emotional spirit of the work while bringing their own perspectives to it.
I suppose the greatest reward is seeing the parallels between my original approach to The Woodsman and the way other performers approach the material today. To truly perform the work, an artist must understand how the music influences the movement and how the movement deepens the emotional journey of the characters. Knowing that the score continues to inspire artists and audiences in new ways reminds me why I became a composer in the first place.
GK: What is challenging about The Woodsman for performers or for the audience?
EH: One of the greatest challenges of The Woodsman is that it does not fit neatly into a traditional theatrical category. While it is a dramatico-musical, it is not structured like a conventional musical where dialogue and songs alternate to move the story forward. Instead, the music becomes the primary language of the production, carrying much of the emotional storytelling within a nearly wordless script.
For performers, the challenge is understanding how every element, music, movement, breath work, puppetry, and physical expression, works together to create a believable world. The performers are not simply operating puppets; they are bringing characters to life through every gesture, breath, and musical phrase. The audience is invited into that same process, experiencing the story through observation, emotion, and imagination.
I think that is also what makes The Woodsman so rewarding. It asks both performers and audiences to engage with theater in a different way; to listen closely, observe carefully, and allow the music and movement to communicate what words traditionally would.
GK: Your work spans classical, jazz, pop, theater, and original concert music. How did those influences shape the musical language of The Woodsman?
EH: Great question! I approached The Woodsman as if I were orchestrating for a large-scale musical, but within the expressive possibilities of a single violin. Although the score is performed by one musician, I wanted the listener to experience the feeling of an entire ensemble through different colors, textures, and musical voices.
Trained classical musicians often recognize that the opening of The Woodsman is a homage to the writing style of J. S. Bach, specifically inspired by the Andante from Bach’s Sonata No. 2 for Solo Violin. From there, the score evolves through a wide range of musical influences, including elements of Romanticism, classical and contemporary music, avant-garde techniques, Broadway, and singer-songwriter traditions.
At its core, The Woodsman is rooted in program music—the idea that instrumental music can communicate a narrative beyond words. Each section of the score contains specific musical ideas and leitmotifs that represent characters, emotions, and moments within the journey of the Tin Woodman. Every theme, transition, and musical choice serves a purpose in connecting the audience to the larger world of Oz.
GK: The Woodsman came out in 2012. If you could go back, would there be anything you would change about the show?
EH: If I could go back in time, I would have explored and created different orchestrations and arrangements of the score sooner. One of the things I have loved seeing over the years is how the music can exist in many different forms—from the original theatrical presentation to solo performances, dance interpretations, recitals, concerts, and new productions.
Today, there are multiple versions, arrangements, and orchestrations available that allow producing companies and artists to engage with the music in ways that best serve their own creative visions. I think that expansion has been one of the most exciting parts of the score’s continued life because it allows The Woodsman (Musical Score) to reach audiences beyond its original theatrical setting. Looking back, I am proud of what we created in 2012, but I am also grateful that the work has continued to grow and reveal new possibilities more than a decade later.
GK: Have you seen any productions of your show by other theater companies, and if so, have their interpretations made you see The Woodsman any differently?
EH: Yes, I have had the opportunity to experience other companies’ interpretations of The Woodsman, and one of the biggest differences I have noticed is the reason each company chooses to bring the work to life. When I was performing the piece myself, I approached it with the mindset of a composer and performer who was deeply connected to every detail. I was incredibly meticulous, often challenging myself to reach the highest level of musicianship I could imagine. In many ways, I was composing for my future self—the violinist and artist I hoped to become.
Seeing other artists embrace The Woodsman from their own perspectives has been incredibly rewarding. Whether they are drawn to the world of Oz, the storytelling, the music, or the individual creative journeys of the artists involved, each interpretation brings something unique while preserving the emotional core of the work.
One moment that has stayed with me was seeing a video from Joseph Case High School after their production of The Woodsman, where the students performed “Rusting Tinman” during their state finals award ceremony. Hearing young artists celebrate and connect with the music was a feeling I had never experienced before. It was incredibly moving to see something I created during my undergraduate years become part of a meaningful moment for a new generation of performers. Knowing that I can continue to revisit that moment through their video is a reminder of the lasting impact a piece of music can have.
GK: Since The Woodsman, you’ve composed for theater, most recently being Anna Devereae Smith’s “Basil Biggs,” concert works, and acting while building an international performance career. How has your work as a composer evolved over the years?
EH: Since The Woodsman, my work as a composer has continued to evolve alongside my experiences as a performer and actor. For me, composition, performance, and storytelling are deeply connected. I see composing as a way to share my heart, create meaningful work that lasts, and inspire artists who may see themselves reflected in my journey to believe that anything is possible.
Since creating The Woodsman, my work has expanded across disciplines and allowed me to explore storytelling from multiple perspectives. My recent experience composing, performing, and acting in Anna Deavere Smith’s Basil Biggs reinforced how interconnected these roles have become for me. Whether I am creating music for the stage, performing as a violinist, or inhabiting a character as an actor, I continue to approach each project as a storyteller.
Over the years, I have become even more interested in creating music that exists at the intersection of storytelling, identity, and human experience. The Woodsman was created during an important period of my development as an artist, and being one of the only Black and Puerto Rican composers presenting my work within that creative space shaped the way I viewed my own voice and place in the theater community. Today, continuing to create and perform as a Black and Puerto Rican composer is meaningful because it represents possibility for other artists who may see themselves reflected in my work and experiences.
Musically, my compositions continue to explore the world of program music—the idea that music can communicate narratives, emotions, and experiences beyond words—while often incorporating elements of social awareness and human connection. Whether I am composing for theater, the concert stage, or multidisciplinary performance, my goal remains the same: to create music that tells stories and connects people.
GK: Your career has taken you from Carnegie Hall and Broadway to community performances, New York Fashion Week and even The Met Gala. How do these different performance settings influence you as an artist?
EH: These varied experiences have given me confidence, self-awareness, and the assurance that it is possible to build a meaningful life in the arts. Each performance environment requires a different version of myself as an artist. The way I approach a performance at Carnegie Hall may be different from how I approach the Met Gala, a Broadway or off-Broadway production, or a community event, but the consistency of my musical voice and commitment to the audience always remains the same.
One of the greatest lessons I have learned is that the value of a performance is not determined solely by the prestige of the venue. My Subway Series performances at Grand Central Terminal have reinforced that belief. Performing for people who may not have access to traditional concert spaces can be just as meaningful as performing in some of the world’s most recognized venues. The setting may change, but the goal remains the same: to create a memorable experience and connect people through music.
Every space has taught me something different about communication, presence, and connection. Whether I am performing for a large audience at a major institution or someone hearing my violin during their daily commute, I approach each opportunity with the same level of respect and intention. That same belief has also shaped my approach to The Woodsman: that music is a universal language with the ability to communicate with anyone, regardless of their background or where they experience it.
GK: As both a composer and performer, what creative projects or artistic goals are you most excited to pursue next?
EH: I am incredibly excited to complete my orchestral suite version of The Woodsman (Musical Score). This project represents a new chapter for the work, expanding the original solo violin score into a full orchestral experience while maintaining the emotional storytelling that has always been at its core. I imagine it as a full orchestra bringing the music to life with the energy and scale of a Broadway-quality production while remaining rooted in contemporary classical music.
There are ongoing conversations about which orchestra will premiere the work, and I am excited about the possibility of introducing audiences to this new perspective on the story of how the Tin Woodman came to be. More than a decade after its creation, it is incredibly meaningful to continue discovering new ways for The Woodsman (Musical Score) to reach listeners and inspire artists.
I am also excited to continue exploring new theatrical collaborations. My recent experience composing, performing, and acting in Anna Deavere Smith’s Basil Biggs was incredibly meaningful, and I often dream about that work eventually finding its way to New York City. I hope that becomes a reality one day and allows even more audiences to experience her family’s story and her brilliance behind the piece.
Ultimately, I remain committed to creating new work that connects people through music, storytelling, and explorations of the Black experience. As a Black and Puerto Rican artist, I am especially passionate about honoring unique, often overlooked stories while inviting audiences from all backgrounds into the conversation. Whether through The Woodsman, new theatrical collaborations, or my concert work, I hope to continue creating art that communicates what words alone sometimes cannot.
For more information about Dr. Edward W. Hardy, please visit www.edwardwhardy.com.
Street Theatre will perform The Woodsman August 14-29th at the Barbershop Theater. Seating is limited, so move quickly if you want tickets!
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A Nashville native and MTSU graduate, Grace Krenz is a reader, a writer, and an arts enthusiast. She lives in Nashville with her husband and two children.
