SONDHEIM’S “INTO THE WOODS” - AN ENCHANTING JOURNEY

Review by Wayne Erreca (3-7-08)

Stephen Sondheim and James Lapine’s musical masterpiece “Into the Woods” is as different from other musicals as a waltz is from Bob Fosse’s whimsical gyrations. With tight, disciplined beats, sporadic shifts in mood, and lyrical diverse themes, it challenges actors and audiences alike with its infectious unorthodox style. Simply, producing a Sondheim musical isn’t for the faint of heart, but if boldly ventured will exhilarate one to their creative limits.

Director Jeanette Mason directed “Into the Woods” in 1992 at the Old Town Playhouse. Mason and Producer Tracey Towner dedicate this new rendering to the memory of: Joe Amato, Lana Crandall, Pat Easterday, Bud Gordon, Marci Hall, Ted Hoxsie, John Kelly, and Danielle White who were part of her first production.

“Into the Woods” was first produced on December 4, 1986 at the Old Globe Theatre in San Diego, California. It soon headed to New York, opening at Broadway’s Martin Beck Theatre on November 5, 1987, where it successfully ran for 764 performances, and garnished three Tony Awards: “Best Score” – Stephen Sondheim, “Best Book” – James Lapine, and “Best Actress in a Musical” – Joanna Gleason. Their first seeds of thought for this rollicking fable occurred in 1984, shortly after Sondheim and Lapine’s first collaboration, “Sunday in the Park” opened on Broadway.

It’s believed their original concept was derived from Bruno Bettelheim’s 1976 book “The Uses of Enchantment”, where several characters are intertwined from Brother Grimm Fairy Tales. Lapine and Sondheim soon created their own children’s fable, by incorporating century-old favorites as Cinderella (Meg Howard), Little Red Riding Hood (Gretchen Rakiec Augustine), Rapunzel (Meg Parker), and Jack “from Beanstalk fame” (Christopher Peterson) around a Baker (Matt Archibald) and his wife (Shakyra Eady). The couple have yearned to rear children, but discover from a wily old Witch (Sarah Bielman) that a spell needs to be broken first before their dreams can be fulfilled. She declares they have three days to retrieve a cow as white as cotton, a red cloak, hair as gold as the sun, and a slipper as valuable as gold. They soon encounter Rapunzel’s Prince (Michael Kania), Cinderella’s Prince & a ferocious Wolf (Brett Nichols), Jack’s Mother (Cynthia Van Maanen), Mysterious Man (Keith Firstenberg), Cinderella’s Stepmother (Bonnie Deigh) and Step-Sister’s Lucinda (Mimi Spaulding) and Florinda (Leah Capper), Cinderella’s Father (Don Kuehlhorn), Mother & Granny (Sara L. Quigley), a Steward (Lars Kelto), Sleeping Beauty (Kristina Nichols, Nicolle Girard), Snow White (Cathy Tallman, Nicole Girard), and an attractive and articulate Narrator (Sally Goggin) who spiritedly guides the audience into the woods.

The entire cast performed well, but various characters require comment. Brett Nichols (The Wolf), seductively prances, sniffs, and snarls around Little Red Riding Hood (Augustine) in the first act, amusingly singing the sultry “Hello, Little Girl”. Later, in the second act, he combines his talent with the Baker’s Wife (Eady) comically singing “Any Moment”. Nichols succeeds in showcasing his multi-faceted talent. Gretchen Augustine is well-suited as Little Red Riding Hood. She never wavers from her character and is delightful when singing “I Know Things Now”. Bonnie Deigh, Mimi Spaulding, and Leah Capper (Stepmother and Sisters) couldn’t have been better cast. They embody their characters with all the right comedic mannerisms and gestures, and provide constant visual amusement. Cynthia Van Maanen (Jack’s Mother) is energetic and vocally in command of Sondheim’s musical style. The entire cast would raise the production higher by following her lead. Matt Archibald (The Baker) captures the sensitivity and warmth when singing “No More”. His heartfelt delivery is by far the strongest among the men. Keith Firstenberg (Mysterious Man) turns a small role into an important one. His creative intensity demands attention. Shakyra Eady (Baker’s Wife) is splendid! Her acting matches her masterful singing ability and captures Sondheim’s melodic beauty in singing “Moments in the Woods”.

Set Designer Steve Morse created a magical and efficient setting, especially when realizing the limited space he has to work in staging this production. His creation of huge trees, protruding from the stage over the theatre seats is quite a sight to behold. And set building contributions from Michael Kay, Mike Nunn, and Jeff Kroeger mustn’t be ignored. Costume Designer Kathy Verstraete and Assistant Kristina Nichols charmingly dressed their actors with fashionable and colorful apparel. Musical Director Joe Rice and Orchestra came through wonderfully, providing a full and pleasant musical support. Vocal Director Tom Stokes handled the difficult task of aiding his singers in their attempt to master Sondheim. With a few additional rehearsals to tighten and define emotional inflections, it will only strengthen the production. Hair and Make-Up Design by Kasey Kilpatrick and Kathy Ivany-Mort visually enhances the production. Light Designer Bryant Bancroft had a major challenge in bringing focus to the many areas requiring light. It will be helpful though to adjust the lighting scheme, for many principles performed in shadows throughout. Also a special “Bravo” to all stage and technical crew, and assistants who aren’t mentioned within this review! Jeanette Mason has assembled a fine cast and crew and jointly produced a respectable Sondheim production.