Through Sun 2/28
Sometimes when you paint a canvas, you have to wait until the paint dries to see if what you have done really works. On opening night, there were parts of this canvas that weren’t quite dry. That is not to say that there aren’t beautiful and fulfilled moments in this show, but all put together, this production doesn’t seem to dry to a harmonious palate.
What waits behind the curtain is fabulous, but you have to get through the awkward looking opening scenes in front of the curtain, to get to the gold. The Lighting and the floor color create an odd atmosphere for the opening vignettes. And for a moment, I thought the costumes weren’t done. Once the curtain opens, the set is fascinating. In an unintentional homage to WordWorld, the woods are literally words that describe what emotional issues are being explored in the play. A genius design by Trad A Burns.
The actors that populate the cast create some memorable characterizations. But at the top of the list is Daniel Simpson as Rapunzel’s Prince. It is a nice featured supporting role, but in the hands of Simpson, he almost steals the show. I can assure you that everyone will remember laughing at his excellent comedic choices, especially when he describes his feelings towards Dwarfs. He slayed me. Amiee “The Zapper” Collier is excellent as the Witch. Her Galavant essence is fabulous. Kudos to Costume Designer Tesia Benson. Collier’s voice is so damn good, and her emotions and delivery are right on point. Her “Last Midnight” was bliss.
The beauty and divine theatrical truth that embodies Trinidad Snider, portraying the Baker’s Wife, permeate the play. But is highlighted beautifully during her rendition of “Moments in the Woods”, before her personal destiny is played out. Brian Altman as the Baker, matches the virility of her performance, by exuding his own class and style, and nailing his emotional exploration of “no more questions.” Neely Gavaart as Cinderella, continues her climb to becoming one of the most nuanced and vocally enriched performers in the city. Her “Steps of the Palace” sublime.
The rest of the cast is a powerhouse of talent. But there are issues here that detract from the richness of the potential. The Narrator needs a spotlight or side lighting, so we can see him, which would help to hear him. And sometimes we see him too much peeping around the woods. The Sound is an issue with the piano of the orchestra drowning out some lyrics, and also not providing a rich orchestral sound that would embellish the proceedings. “Hello, Little Girl” was played, or directed, to be so dark, it literally looked like an episode of SVU. I am surprised the woods didn’t spell PERP when the song was over.
As brilliant as the set design was, it didn’t give the actors any sense of location. Moving certain wood words, to another angle did not seem to provide enough of an environmental change. It was almost like performing the musical in a black box that just happens to have a fabulous set of word woods behind them. The staging and movement of the endings of Act One and Two were so odd with the entire cast hidden behind the woods. The greatest moments of this show, were individuals performing downstage and not encumbered with the scenery, and left alone to bare their theatrical soul.
In the end, I had trouble connecting with this production. With the cast list that would make most directors salivate for days, more time should have been spent staging and giving more specificity to what the actors were saying, singing, and moving towards, literally. It is that directorial imbalance that tipped the scales for me.
For Show and Ticket Information Click here. http://www.clevelandstagealliance.com/NEO-theatres/lakeland-civic-theatre/into-the-woods
Lakeland Community College, Kirtland, OH 44094