The roll call of musicals rooted in history is distinguished, to say the least: 1776; Pippin; Titanic; Bloody, Bloody Andrew Jackson; Hamilton; Come From Away; and even the current Broadway hit (originally from London), Operation Mincemeat. Operation Mincemeat focuses on a mission by the British to fool the German Axis powers during World War II.
But it is the personal toll on friends and family — and the entire country — during the “War to End All Wars,” World War I, that is the subject of the world premiere musical Into the Sun, which played for three performances in Warrenton. While the brief run at Journey Theater, produced by Triune Entertainment, may be a memory, keep your eyes and ears out for this innovative, touching, and ultimately inspirational musical to find its way to other stages in the future.
Triune Entertainment, as described in its press materials, “is an independent, non-Equity production company dedicated to providing artists with opportunities to direct and perform in exciting and original ways.” Co-owned by Matt Moore, Lisa Moore, and Cate Murray, Triune, within the last year or so, has made a name for itself producing shows that are “uplifting without compromise.” They opened last year with Peter Filichia’s comedy Larry the Big Time Producer. Other shows have included Songs for a New World, The Best Christmas Pageant Ever, and Joseph and the Amazing Technicolor Dreamcoat. To close out its second season, history took center stage, courtesy of noted author, musician, and historian Michael Gubser.
Inspired by the World War I poetry of Wilfred Owen, Rupert Brooke, and Siegfried Sassoon, Gubser has fashioned a very personal story of family and friends set against the backdrop of England thrust into a horrific war and the sacrifices and scars of battle. Gubser created the book and lyrics, along with the musical score, with early contributions by Paolo Prandoni — Gubser’s bandmate in Chico Motel. The musical has had readings and workshops several times over the years, but Triune’s producer Matt Moore took what some might say is a bold step in producing this untried, serious work.
The style of the score and songs is unique, bridging folk, rock, and Broadway sounds, ranging from poignant ballads and gut-wrenching confessionals to romantic duets and full-out anthems, including “I’ll Follow You,” which becomes a recurring theme throughout the piece. This is a tune that sticks with the listener, both in music and lyrics.
To hear excerpts from Gubser’s score, including “I’ll Follow You,” visit his website mikegubser.com/into-the-sun.
The audacious move has paid off. Into the Sun is bold, indeed. In telling a story of bravery, Gubser’s musical brings the human face of soldiers and their loved ones to life in script and song. And as directed by first-time director Esther Wells, Into the Sun moves from merry, old England the night before the war to the trenches of France and back again with ease and theatricality. Using minimal props, simple settings, and evocative projected scenes, the production flows cinematically through the turbulent years of WWI, 1914 to 1918. The detailed period costumes — designed by Heather Allen and a host of others — place the actors firmly in the turn-of-the-century era, including crisp uniforms for the ensemble of soldiers.
The story focuses on a British brother and sister, Alfred and Mary Sigfried. Known to all as “Freddy,” he is pumped with national pride just before he enters the King’s army. Mary, bold and independent, declares she wants to join Freddy and his mates on the front lines. Her beau and Freddy’s friend Rupert protests, insisting that Mary stay safe in England. Rounding out this small group of family and friends is the sensitive poet Henry Wilfred. As Freddy’s best mate, and reluctant participant in the war, Rupe accepts Freddy’s promise to always watch over him.
The story then propels into the trenches as Freddy rises to captain and begins to have more conflicts with his old friends. Meanwhile, back in the UK, Mary helps the war effort by working in a munitions factory, remaining connected to the fighting men via letters. The story unfolds, leaping to England and back again to the front, where the horrors of war are depicted, sometimes with tragic consequences.
The cast of Into the Sun handles the challenging and engaging story and score skillfully, Leading the company is Ryan Schaffer as Freddy, the central character. Schaffer exudes devotion to his family and friends, as well as his loyalty to Britain, throughout Freddy’s journey; his depiction of the emotional price of loss and tragedy during wartime is convincing. Schaffer’s strong and expressive baritone handles his musical duties beautifully, starting with the catchy and charming “Soldiers” (“When I Become Prime Minister”), and the finale reprise of “I’ll Follow You.”
As sister Mary, Audrey Mollo is a strong presence as well, inhabiting a woman with backbone in a time when women in society were expected to look lovely. Mollo’s love for Rupert and her kinship with her brother are at the heart of the musical. Mary’s fiery personality shines through, particularly in “Why Can’t I Go, Too.”
Joseph Allen makes a strong impression as the romantic and tortured Rupert, who becomes torn between Mary, back home, and a growing relationship with a French lass, Marie. As much in love with Mary as he can be, he becomes involved in a battlefield relationship with a gentle soul who happens to be a lady of the night. Allen has to have chemistry with both Mollo, as Mary, and Camden Gillespie, as Marie, which he handles with touching poignancy. His scenes with Gillespie as Marie are touching and filled with lyrical beauty. Their scenes include two duets, “Someone” and “Marie’s Theme” (“Just Another Minute with You”), which brings their doomed romance to the forefront, especially as performed by Allen and Gillespie.
Probably the most tragic figure among the characters, Henry, is portrayed with sensitivity and depth by Cam Ezell. Henry, with a poet’s soul, does not take to war during his first tour, and Freddy keeps his promise to keep Henry safe, but only for a time. Ezell brings to life the conflicted and fragile Henry, offering a gut-wrenching performance, especially when he bears his soul, even briefly, to his friend Freddy.
The cast is rounded out by memorable turns from Matteo Hope as Billy, an Irish lad (reminding the audience that many soldiers were practically boys), and Eric Black as the stern and imperious General for whom war is everything. Ensemble member Paul Correll steps up to portray a German soldier, Willy, who makes contact with the British company from across the battlefield in a scene reenacting the famous Christmas ceasefire of 1914, a moment of true humanity in the midst of war.
Last but not least among the performers, four actors are never onstage but appear in filmed transitions between scenes, portraying the young versions of the main characters, an innovative touch that offers additional context to the longtime relationships among the quartet. Theo Gubser (Freddy), Nick Moore (Rupe), Mira Gubser (Mary), and James Moore (Henry) make a strong impression as the younger protagonists.
Weaving history with the personal stories, Gubser’s musical takes Freddy from a proud soldier and devoted friend to practically a broken man who makes a bold move to show the horrors and futility of war. The ultimate price paid by the lives of those in the war is incalculable, and this musical creatively captures the depths of tragedy while ending with a glimmer of hope, as the characters face “into the sun.”
There is a quote by playwright and actress Dominique Morisseau: “Everyone deserves to have their story fully told.” After seeing the world premiere of Into the Sun, Freddy, Mary, and the others in this musical deserve to have their story fully told again and again.
Into the Sun played June 6-7, 2025, presented by Triune Entertainment, performing at Journey Theater, 4175 Bludau Dr, Warrenton, VA.
Into the Sun
Book, music, and lyrics by Michael Gubser
CAST
Alfred “Freddy” Sigfried: Ryan Schaffer
Mary Sigfried: Audrey Mollo
Henry Wilfred: Cam Ezell
Rupert “Rupe” Pryor: Joseph Allen
General: Eric Black
Billy: Matteo Hope
Katy: Brighid Hughes
Willy, ensemble: Paul Correll
Marie, ensemble: Camden Gillespie
Police Chief, ensemble: Stub Estey
Other Ensemble members: Anthony Palladino, Linda Correll, Tammy West, Samantha Wong.
Appearing on film: Mike Gubser, Nick Moore, Mira Gubser, and James Moore.
PRODUCTION TEAM
Producer: Matt Moore
Director: Esther Wells
Stage Manager: Garrett Tucker
Choreographer: Christie Dubnansky
Music Director/Piano 1: Lori Roddy
Assistant Music Director: Robert DeBroeck
Set Designer: Esther Wells
Technical Director: Ben Jacobeen
Lighting Designer: Jack Tessier
Sound Designer: Kaitlyn Nelson
Sound Engineer: Lex Hartung
Lighting Operator: Sarah Vaughan
Costume Design: Heather Allen, Eric Black, Robin Dalusung, Christie Dubnansky, Lynn Morrison, Esther Wells
Props Manager: Jay Wells
Projection Design: Matt Moore
Set Construction: Caroline Arnette, Doug Barylski, Christie Dubnansky, Esther Wells
Stage Crew: W. Greg Smith, Amber Weaver, Kiera Pechiny, John Moore
Orchestra/Bass: Davd Burrelli
Orchestra/Drums/Guitar: Chris Calavas