WFT Actor: Jessica Ayer in Shrek the Musical

"I remember seeing WFT's production of The Sound of Music with Angela Williams as Maria. This particular show stood out for me because it was my first time seeing a show with non-traditional casting. Before this, I had thought that if the original character was white, then you had to be white and if the original was black, then you had to be black. Being a mixed girl, that did not leave me with many options. So this show truly made me feel like I could do anything. 

I started at Wheelock when I was 6 years old with their summer acting classes. Being the overly-dramatic, high-energy child I was, I automatically fell in love. I remember the teachers made it so much fun that I never wanted to go home. Since then WFT has taught me so many important lessons that I will never forget, the most prominent of which is to never give up. During middle school I dealt with a lot of disappointment during school shows and began to think that acting was not for me. I decided to give it one last shot when I heard that WFT was going to produce Hairspray. As soon as I walked into the first rehearsal I realized why I had fallen in love with WFT and acting so many years before. Everyone was so kind and helpful throughout the whole process. I felt like my 6 year old self again, excited to perform and never wanting to leave a show because WFT felt like home. 

WFT is inspirational - from their non-traditional casting to their ASL performances and affordable prices, there is absolutely no other place like it. I am so grateful that I have had the opportunity to grow up here and work with so many talented people. WFT will always hold a special place in my heart."

WFT Actors: Grace Brakeman in Shrek the Musical

"I have always loved coming to see shows at Wheelock Family Theatre since I was a little girl. But when I started taking summer classes and was cast in Ramona Quimby the next year, WFT became my second home. My relationships and experiences at Wheelock over the past ten years have allowed me to become friends with people of all backgrounds and views.
Wheelock is the only place I know of that is committed to excellent productions as well as inclusion and accessibility. In addition to presenting important stories in an engaging way, WFT is special to me because it fosters a nurturing, loving, and accepting atmosphere. I love getting to work together with a team of creative people with distinct perspectives. Just like the fairytale creatures in Shrek encourage each other to 'let their freak flags fly' and embrace their individuality, WFT celebrates people's differences and unique qualities that make them special.
Yet WFT does more than create a supportive environment: It has a progressive policy of non-traditional casting. Wheelock's dedication to color and ability blind casting has cultivated teams of incredibly talented and diverse people. Each child in the audience can be inspired by an actor that they personally identify with.
After closing Shrek (my tenth show at WFT) and moving to Chicago to study in the theatre major at Northwestern University next year, I will dearly miss my WFT 'cast families'. I am forever grateful for the opportunities and coaching at WFT and for Jane Staab, Sue Kosoff and all the wonderful people I have been lucky enough to know here."

WFT Actors: Lexi Ryan in Shrek the Musical

"My first experience with WFT came when I was ten years old, playing Cindy Lou Who in Seussical. I grew up on this stage. But more importantly, I grew up a part of this family. The people at WFT, from the directors to costume designers, from the crew to my fellow actors, are among the most caring, kind, and talented members of the theater community, and of the world. Nowhere have I found a more supportive, hardworking, and transformative group of people. 

A key theme of WFT that has stuck with me is the idea of storytelling. I have learned that that is an actor’s true craft. Wheelock brings stories to life in a very special way. Beyond colorful costumes and impressive high notes, the point of theater is to touch people through effective storytelling. Storytelling is a means of sharing experiences through bridging cultural divides. The best stories show how all humanity is connected. 

What is truly magical about Wheelock is that it brings positive messages to children through its incredible storytelling. Where adults may be judgmental, children are prejudice-free. WFT helps to cultivate acceptance in its audiences, from the youngest children to the oldest patrons. Children start colorblind. They accept WFT's colorful casting without a second thought. Children will view avant-garde art as fun rather than weird. As I've gotten older, I've realized that WFT creates family-friendly theater with a message, something young viewers won't even register at the time, but guides them to become better people as they grow older. Shrek marks my sixth show at WFT in seven years and perhaps the most fun of them all. Shrek is a delightfully whimsical story that will make children and adults alike laugh out loud, but it also teaches an important lesson, one near and dear to most in the theater community: be true to yourself and 'let your freak flag fly!'"

SHREK Theater Review by Anne Pieterse

“Your horny warts, your rosy wens,

Like slimy bogs and fusty fens,

Thrill me” –William Steig (from Shrek)

“Shrek” was the first, one of the many children’s picture books, artist William Steig wrote and illustrated. Then Shrek became a DreamWorks movie followed by a Broadway musical. And now tonight, “Shrek the Musical” is the final production of the Wheelock Family Theatre’s 34^th season. And what a brilliant opening night performance it was. Directed by Shelly Bolman, choreographed by Patricia Manalo Bochnak, musical direction by Matthew Stern, and costume designer Charles G. Baldwin worked together to create a production filled with dazzling entertainment. There were dance numbers to get you stomping your feet, comedy for all ages, solo singing, and vibrant choral numbers, songs mixed with dance numbers, all tucked together with simple movable sets. Whether in book, film, or theatrical presentations, the story of Shrek remains the same. It is an ugly duckling tale (with a twist), an ogre named Shrek wants to be a left alone in his swap. Farquaad (the current ruler, but not yet King) is a self- impressed bully, who orders Shrek to rescue the princess Fiona so he can marry her and the become King. Battles with fire breathing dragons and “Donkey’s” wisdom, give heart to this endearing and satisfying story. The tale promotes diversity and encourages more than superficial thought when we are asked to consider what makes a princess and what characteristics her suitor should have. The story encourages us to celebrate who we are and how we do it. To look beyond the assumptions we make when judging ourselves and others.

Experienced talented actors, Christopher Chew (Shrek), Shonna Cirone (Fiona), Maurice Emmanuel Parent (Donkey), Mark Linehan (Farquaad), set the tone by their strong performances. The smaller characters roles of Young Shrek, Young and Teenage Fiona, Thelonius, Bishop, Mama Ogre, Papa Ogre, King Harold, and the Knights did superior work as well, often playing more than one part.

Shrek the Ogre just wants to be left alone in his swamp and has no interest in having fairytale trash living next to him. The “Fairytale Trash” community of creatures are easily recognized as the characters from Grimm’s fairytales, old cartoons, and Disney movies: Pinocchio, Papa Bear, Mama Bear, Baby Bear, Fairy Godmother, Red Queen, Bluebird, Genie, Little Red Riding Hood, Chip, The Teacup from Beauty and the Beast, Ariel, The Three Blind Mice, The Three Little Pigs, Ugly Duckling, Queen Lillian, Wicked Witch, Captain Hook, Pied Piper, Big Bad Crossdressing Wolf, Ginny and Peter Pan. The costumes were made with bright dazzling colors that allowed the audience to easily recognize the familiar characters. And a variety of jokes are enhanced by the audiences past history and knowledge of fairytale creatures.

The live 8 man orchestra including keyboard, 2 reeds, trumpet, trombone, guitar, bass, and drums sat under the stage and was first-rate.

The use of puppets was captivating when eight puppet handlers maneuvered the dramatic giant Dragon that towered, twisted, and turned majestically over the stage. The handlers moved as one and actually danced with the flow of the Dragon’s swirling body from the fire coming out of her mouth to the tip of her long pointy tail. Hand puppets were used too. Funny scenes involving the torture of the Gingerbread Man were hilarious. The Gingerbread Man cookie puppet ends up shouting, “Eat me!” and the audience roared.

Young children in the audience seemed to be smitten and enthralled by the sparkles, glitter, and energy of the evening. Unobtrusive open captioned, by illuminated lighting on both sides of the stage, aided in the enjoyment for those hard of hearing and deaf. Each production offers final weekend performances that are interpreted in American Sign Language and audio-described for patrons who are blind, with Braille programs available upon request. All productions offer enhancements for patrons with cognitive disabilities or sensory sensitivities. Everyone should partake, and savor the fun in this delightful show.

ALICE. a dramashop at the Eliot Pearson Children's School

Today was another day of bliss and busy fun in our kindergarten classroom. John from the Wheelock Family Theatre came and told the children the story of the play they will be seeing tomorrow. It was fantastic! He told them that the play is an adaptation of the Alice in Wonderland story, so there will be some things that will be different from the original story and from the Disney version. For one thing, the main character, Alice, is played by an African American actress, and not depicted as a blond haired, blue-eyed child. John explained that Wheelock Family Theatre strives to give its audience the chance to see people like them performing on stage. After offering a summary of the story, he asked if anyone would like to do a little acting exercise - being a caterpillar. Three children volunteered.

After today's morning meeting about riding the school bus and viewing Alice the Musical, I expect that the children are ready for our school-wide adventure and will likely have a great time tomorrow. Here are a few pictures taken during their meeting with John.

A Review of ALICE at Wheelock Family Theatre

October 24, 2014
By: Ali Hutchinson, editor and publisher of Macaroni Kid Newton-Brookline

Last weekend, my son, friend, and I were guests of the Wheelock Family Theatre for their production of Alice.  We attended the Sunday afternoon performance which was scheduled to begin at 3:00pm.  The literature on the production recommends the show for children ages 6 and up, so I decided to leave my 4 year old son at home.  In hindsight, although he most likely would not have been able to follow along with the plot, the action and colorful costumes most likely would have captured his attention enough to keep him engaged. 

From the moment we sat down, my son began asking questions about the set.  "Why is there a bed momma? Is Alice going to start there?  What is the wood on the side for?  Will they be going up and down?"  It was exciting to see the sparks of imagination fly and the intrigue build as we waited for the show to begin. I could tell he was anticipating and wondering about the show. The set design was creative and multi-purpose.  Many pieces were used for different purposes in different scenes throughout the show.

WFT's closed captioning along the side wall for the entire script was not nearly as distracting as I had initially thought it might be.  As a matter of fact, it turned out to be quite helpful.  My second grader who is learning to read and who sometimes misinterprets words in songs was able to follow along with the characters as they spoke and sang.  I never heard, "what did she say"?  He was able to refer to the closed captioning and figure it out for himself.

The show itself quickly drew us in. Right from Alice's (Maritza Bostic) first song, I began to feel for her; able to identify with a time when I wanted to do anything except that which was expected of me.  I remember the feeling when my parents said, "Don't disappoint me". That feeling was evident on Alice's face.  Between the characters facial expressions, voices, and mannerisms, we all felt as if we suddenly became a part of this world; a friend of Alice's; and we were making this journey with her.

I was especially impressed with the young actress who plays Alice's cat Dinah(Julia Talbot), and then dons a puppet to take on the persona of the Cheshire Cat.  At only 14 years old, both her physical interpretation of a cat's behavior and her vocal deliverance of the lines were strikingly accurate and those realms of reality and fantasy began to collide.

Alice's interactions with the Mouse (William Gardiner) were especially endearing; displaying tender conversations and moments of what you imagine might go on between Alice and her father.  The scenes with the Duchess and Cook as well as the Tea Party with the Mad Hatter, Hare, and Dormouse infused physical comedy into the show. There was also action in the aisles at times.  A range of emotions are felt as Alice finally finds her garden, is disappointed as it no longer looks how she imagined, and then comes to a realization about growing up.  Even my 7 year old looked up at me at one point with tears in his eyes.  Even as a young theatre goer, he was able to be drawn into the lives and emotions of the characters.  It is truly a magical show when a performance can cross ages and generations and have the same effect on vastly different people with different experiences.

I have to mention that by far the best part of the show for my son was after it was over, when the cast lined up in the foyer and were available for pictures and autographs.  He was enamored!  And although we got pictures with almost all of the cast, I'll share just a couple. The cast does this after every Sunday afternoon show.

Here he is with Alice and then with a couple of the Flower Buds. If you hadn't considered going to see the show, consider it.  Alice runs on Friday nights at 7:30, Saturdays and Sundays at 3pm.  

Please note:  I was given press tickets to review this show for my readers.  All of the ideas and statements in this article are my own.  

ALICE - a new musical

Edge Media 10/20/14 - Kilian Melloy

Has any children's book sparked so much interest, and so many re-interpretations across so many forms of media, as Lewis Carroll's 1965 novel "Alice in Wonderland" and its sequel, published six years later, "Through the Looking-Glass?"

The first film adaptation hit screens in 1903; since then there have been multiple Cineplex and television versions of the story, with a forthcoming follow-up to the 2010 Tim Burton big-screen version now in production.

On stage, the first musical version of "Alice in Wonderland' went up in 1886; two operas, a ballet, and a musical with song by Tom Waits (!!) all followed.

Now, Boston's own Andrew Barbato has chimed in with his own musical, titled -- as was the Tom Waits-involved project -- "Alice." The world premiere of the new "Alice" is ongoing now through Nov. 16 at the Wheelock Family Theatre. The thumbnail review is this: As with so many Wheelock productions, you can (and ought to) take the kids to this one. And you don't want to miss it.

Barbato has clearly scrutinized Carroll's books, but he's not slavish to them. There's a shift in emphasis, away from Lewis Carroll's political satire and onto the question... or problem... of time -- or, rather, a human awareness of time's passage, something that children scarcely register but that weighs ever more heavily on adults.

This Alice (played by Maritza Bostic) faces her thirteenth birthday with more than a trace of apprehension. Her mother (Leigh Barrett), a laced-up Victorian sort, experts Alice to behave as a proper young lady and entertain the guests at her party with a piano recital. Alice isn't so sure about going from child to young woman instantaneously, and as a function of the calendar; she determines to run away. Cue the white rabbit (Stephen Benson), the plunge down the rabbit hole, the Cheshire Cat (Julia Talbot), and all manner of elixirs that expand the mind, enlarge and shrink the body, and make doorways of opportunity into splendid gardens (or tragic wastelands) either possible or not.

Seen from a child's perspective, the world of adults is unfathomably arbitrary, not to mention inexplicably convoluted and obscure. Barbato holds on to that sense of things being askew, but streamlines the narrative so that the Cheshire Cat puts in more than a cameo appearance (she's actually more of a guide in this version) and Alice's goal -- to find her way into the fabulous garden of the Queen of Hearts (Barrett, doing nicely symbolic double duty), by way of the Queen's fancy party -- is more easily traced.

Familiar episodes abound, but they have been given a different twist to fit into the new thematic thrust. Tweedle Dee (Dashielle Evett) and Tweedle Dum (Noah Virgile) appear as brothers reluctantly compelled by their masculine pride to settle differences by means of combat -- even though, like Alice, they seem to want to hold on to childhood a bit longer.

A murine boatman (William Gardiner) ferries Alice around, the Caterpillar (Elbert Joseph) lounges on a staircase in an imaginatively staged manner, the Frog Footman (Jenna Lea Scott), armed with twisty logic, guards the gateway into what might be considered domesticity and motherhood, and -- of course, because this just wouldn't be Alice or Wonderland without it -- the Mad Hatter (Russell Garrrett) and March Hare (Jane Bernhard) host their tea party, narcoleptic Dormouse (Merle Perkins) their eternal guest.

But always there's the underlying sense that Alice is slowly coming to terms with impending adulthood; after all, she can run away from home, but she cannot escape the clock, and its ticking follows her at every turn.

That's not the play's only audible element. This is, after all, a musical, and Barbato proves to be a talented songwriter. He's prepared about 30 songs for this play; they fit the material as well as the script, with its carefully judged tweaks to the source material, does. In an early song, Alice and her mother both lament that they need "Another Person's Life"; while shipboard with the mouse at the helm, Mouse and Alice engage in a duet called "Sea As Our Guide," a deft shorthand evoking the act of faith that growing up is in and of itself.

When the terrifying Queen of Hearts -- lopper of heads, erratic tyrant and ultimate mother figure -- finally grants Alice entree to her garden, the two duet on "Paint the Roses Red," a paean to transformation that touches upon fertile physicality as much as on intellectual maturation.

In one way, this "Alice" is a generally faithful adaptation, despite some quite striking departures; in another, however, it's an updated re-imagining that speaks to a 21st century audience while identifying new elements of universal appeal. No need to update the character -- Alice is still a little Victorian girl, and it would have been crass to re-cast her as a contemporary American.

What's fresh and exciting is how the play understands that even plugged-in, tech-savvy modern children, their iPhones and other devices in hand, speak the timeless language of children and view the world from a stature different from that of adults -- a stature in flux, allowing the world to be in flux, also.

"Alice" stumbles on the way to Wonderland

Boston Globe. 10/23.2014

 

At the heart of “Alice,” Andrew Barbato’s new musical adaptation of Lewis Carroll’s beloved adventure, lies a tender coming-of-age story. It’s sweet and sincere, and thanks to a knockout performance by Leigh Barrett as Alice’s mother and the Queen of Hearts, the Wheelock Family Theatre’s production nearly hits its mark. But Barbato’s pastiche-like approach to storytelling often comes off as a confusing jumble of scenes the audience needs to plow through to get to the good bits, and the music, by Lesley DeSantis and Barbato, often lacks a coherent sense of melody.

The story opens with Alice (Maritza Bostic) waking up on her 13th birthday and singing about her wish to have “Another Person’s Life.” Resentful of her mother and her sister’s (Jennifer Elizabeth Smith) expectations, Alice chooses instead to follow a mysterious White Rabbit (Stephen Benson) down a hole into Wonderland. What follows are a series of scenes or songs inspired by “Alice’s Adventures in Wonderland” and “Through the Looking Glass,” but unfortunately, they are too randomly selected to build Barbato’s theme.

The scenes are, however, an opportunity to see this talented Wheelock Family Theatre ensemble shine. Jenna Lea Scott, who thrilled audiences with her performance as Tracy Turnblad in “Hairspray” last season, is terrific as Frog Footman, although it’s not clear why she’s there; Noah Virgile and Dashiell Evett as Tweedle Dum and Tweedle Dee have a lovely moment reinforcing their brotherly bond even as they battle each other; Alexandra Nader is a hilarious Cook; and Aubin Wise as the White Queen displays some impressive vocal power, although her position as Alice’s conscience and/or fairy godmother is confusing and seems unnecessary.

There are, in fact, so many characters competing for the role of Alice’s narrator, adviser, and guide, it’s no wonder Alice is lost. The March Hare (Jane Bernhard), the Cheshire Cat (Julia Talbot) and the White Queen all weigh in, creating a cacophony of voices that distract us from the essential journey.

Fortunately, Alice makes her way into the Queen of Hearts’ turf, and once Barrett arrives, the pieces come together with amazing clarity. Although we met her in the first act as Alice’s mother, here Barrett displays her utter command of the stage, combining impeccable comic timing with her imperious “Welcome” number, and then delivering a wrenching “Paint the Roses Red,” in which the queen reveals her vulnerability: It’s her wish to capture perfection and avoid change.

Before you can say “white rabbit,” Barrett has been transformed back into Alice’s mother and she, the White Queen, Alice, and Sister all sing about the challenges of growing up.

Set designer Matthew T. Lazure’s multi-tiered set creates some wonderful opportunities for creative staging, and Lisa Simpson’s costume designs are simple but evocative, especially for the Caterpillar and Flower Buds. Music director Robert L. Rucinski conducts a sprightly four-piece orchestra to accompany the singers, but the music itself never finds a consistent groove.

As director, Barbato creates several effective tableaux, but his pacing is uneven, with cluttered scenes tripping over one another without feeling connected. “Alice” represents an ambitious effort by this young composer/playwright/director that, with some judicious pruning, and more focused transitions, will establish him as a talent to watch.

-Terry Byrne

Wondering what ALICE is up to now?

The New England Professional Premiere of ALICE by Andrew Barbato.

ALICE

October 17 – November 16, 2014

Friday nights at 7:30, Saturday & Sunday matinees at 3:00

This new musical adaptation of “Alice’s Adventures in Wonderland” and “Through the Looking Glass” is by Andrew Barbato, a Stoneham local, with music by Lesley DeSantis, from Rockport.  “Alice” offers a fresh musical perspective on the satirical vignettes drawn up by Lewis Carroll.  Barbato, who has graced local stages as an actor, has been writing plays since he was a teen.  “Alice” first took stage with the Stoneham Young Company and was performed by Barbato’s production team “Cellar Door Stage” in 2011.  “Alice: A New Musical” made its NYC debut at the Midtown International Theatre Festival in 2011 and was also performed at Marymount Manhattan College in 2013.

 

“Boston is where the seeds of Alice were planted,” explained Barbato, “I am so drawn to the nostalgia, the whimsy, and the magic of Alice’s story “

 

“Alice” retains the beloved distortions, musings, and caricatures that have enchanted readers and inspired illustrators, filmmakers, playwrights, and choreographers since the book’s publication in 1865.  Barbato’s adaptation has threaded Carroll’s distinct symbolism with a story of a young girl “coming-of-age”.

 

“There have been about four incarnations of this play. And as I’ve developed this girl who is on the cusp of young adulthood; I can definitely relate.”

 

Wheelock Family Theatre has always been a home for young talent, nurturing young artists in a safe, professional environment.  And “Alice” asks a question many young people struggle with;  must you relinquish the dreams of your childhood when embracing the responsibilities of adulthood?

 

“WFT has been an instrumental force in my artistic development and I feel lucky to have been mentored by founding members Jane Staab and Susan Kosoff”, says Andrew Barbato.  “Places like WFT replenish my soul and remind me that the journey is much richer than the destination.”

And under the leadership team of Wendy Lement and Shelley Bolman, Wheelock Family Theatre will present the New England professional premiere of Barbato’s “Alice”.

 

Wendy Lement states, “I want Wheelock to present new work that brings beloved stories to life in fresh and dynamic ways.  The stories we tell must awaken our senses, alter our perceptions, promote empathy, and encourage dialogue.  I am thrilled to put this new work by Andrew front and center as our season opener.  Alice’s trip down the rabbit hole will send us on a fantastical coming of age adventure.”

 

Featuring Leigh Barrett* as the Queen of Hearts, Stephen Benson* as the White Rabbit, Jane Bernhard as the March Hare, Maritza Bostic as Alice, Dash Evett as Tweedledee, William Gardiner* as the Mouse, Russell Garrett* as the Mad Hatter, Elbert Joseph as the Caterpillar, Robin Long* as the Duchess, Alexandra Nader* as the Cook, Merle Perkins* as the Dormouse, Jenna Lea Scott* as the Frog Footman, Jennifer Elizabeth Smith as Sister, Julia Talbot as the Cheshire Cat, Noah Virgile as Tweedledum, and Aubin Wise as the White Queen.                               *Members of AEA

 

Wheelock Family Theatre is a professional, non-profit theatre associated with Actor’s Equity, the union of professional actors and stage managers. Located on the campus of Wheelock College, Wheelock Family Theatre seeks to improve the lives of children and families through the shared experience of live theatre.

For additional information please call 617-879-2300.

Musical Intensive: Helen on 86th Street

The 2-week Musical Intensive class performed "Helen on 86th St" on Friday August 15 AND playwright Nicole Kempskie and composer Robby Stamper came to see the show!

Circus Spendida at WFT

Our summer students (7-9 yrs. old) have prepared the mini-musical, CIRCUS SPLENDIDA.

Background for Helen on 86th St. THE TROJAN WAR

The ancient Greek story of the war between Greece and Troy is an epic of love, revenge, sorrow and bloodshed. But this quick overview will help in the background of WFT Musical Performance Intensive, "Helen on 86th St."

 

When the goddess of Discord made trouble by throwing a golden apple labeled 'to the fairest' into the midst of a party of gods and goddesses, three goddesses all rushed to claim it.  Paris, a prince of Troy, is asked to settle the argument: just who is the fairest?  Each goddess tempted him with a bribe.  The first, Hera, offered him a wide empire.  The second, Athena, offered him glory in war.  Lastly, Aphrodite, goddess of love and beauty, offered him the most beautiful woman in the world. This last offer he could not resist. And who is this beauty? Helen.

The most beautiful woman in the world, Helen, was married to king, Menelaos.  Since Aphrodite had promised Helen to Paris, she made Paris journey to Greece and made sure he was irresistible to Helen.  So Helen ran away with Paris to Troy, leaving her husband behind.  Not such a good move.

To reclaim his wife, Menelaos took his troops to Troy, led by his brother Agamemnon, and the greatest warrior in all of Greece, Achilles.  Troy fought back and after nine years the war waged on.  Agamemnon and Achilles fought (over another woman) and Achilles was determined to punish Agamemnon, so he refused to fight.  Without Achilles things went badly for the Greeks.  Achilles' best friend Patroklos persuaded Achilles to let him lead the troops himself and in Achilles armor, Patroklos fought brilliantly but was killed by Hector, the Trojan champion, and one of Paris's brothers.

Achilles was full of sorrow and rage. Now he wanted to rejoin the battle to avenge his friend's death, but he had no armor. He begged his mother, the sea-goddess Thetis, to get him some new armor made by the smith god.  Equipped with new armor, Achilles raged through the battle looking for Hector.  Finally the two great warriors met. Each was supported by a god.  As Achilles rushed forward, his goddess Athena stood behind him. As Hector fell, the god Apollo was forced to leave him.

Even though he had killed Hector, Achilles was not yet fated to die. He still had time to fight the Amazons, fierce female warriors who were on the side of the Trojans.  The Amazons fought hard and killed many Greeks, but when their brave queen, Penthesilea, came face to face with Achilles, she had met her match.

Paris was desperate to avenge his brother's murder.  He managed to fire an arrow into the one area of weakness that Achilles had - in the heel of his foot.  Achilles was killed just as his mother had foreseen.  However, Paris himself died in battle soon after.

The war had now gone on for ten years.  To win, the Greeks knew they had to somehow get their troops inside the city of Troy.  They came up with a clever plan.  They made a huge hollow wooden horse, filled it with their best warriors and left it outside the city, then they pretended to sail away. Thinking it would bring them luck, the Trojans brought the horse inside.  After nightfall, the Greeks hidden in the horse sneaked out and opened the gates to the rest of the army.

When the Greeks got inside the city, they began killing people wildly.  To make sure that none of Hector's family lived to avenge his death, they even killed his old father Priam, the king of Troy, and his baby son Astyanax.

Menelaos found Helen.  He drew his sword to kill her because of all the trouble she had caused, but the goddess Aphrodite protected her, and when Menelaos looked at Helen, he was so overwhelmed with her beauty that his sword fell to the ground. And so the war ended.