Through 11/10
Stephen Sondheim’s classic Into the Woods, now at the Playhouse Square’s Hanna Theater, offers a blissful, exuberant, dangerous — and deliciously musical — expedition into the forest.
As director Victoria Bussert pointed out in the program notes, “Be careful what you wish for, you may get it.” And that’s what Into the Woods’ two full acts are all about. It’s an enchanting production shining with exceptional performances.
Sondheim’s music and lyrics combined with James Lapine’s book stay true to the dark edges that hem even the sweetest of the original folk tales published in Grimm’s Fairy Tales (1812). If Disney’s syrupy versions come up here, it’s merely to mock them.
But that’s not to say there’s no uplifting lesson to be learned or laughs to be had on our trip through the woods. Stay tuned.
The woods — let’s start there. No real trees seem harmed. Here, trees are only those we imagine via hints on scenic designer Courtney O’Neill’s bare-bones stage. It features meshed climbing bars (which could be limbs) and moveable pieces (such as a tiny white cow). This very practical plan works to enable the audience to quickly focus attention from one area (and one story) to another without elaborate scene changes.
For example, the first act kicked off three stories at once, thanks to the Narrator (an ever-present stabilizing Brian Sutherland). On our right side we saw the Baker (a hapless Joe Wegner) and the Baker’s Wife (a fragile Jodi Dominick) lament their childlessness; in the middle we observed Jack (a naïve Nic Hermick) and Milky White (his precious cow) and Jack’s mother (a loving and oft-exasperated Jessie-Cope Miller) fretting over money (or lack of it), and finally, on our left, we saw Cinderella (a sweet RhonniRose Mantilla) enduring harsh treatment by her stepmother (a hilarious Boe Wank), and stepsisters Lucinda (an air-headed Royer Bockus) and Florinda (an equally air-headed Zoë Lewis-McLean).
And let’s not forget the Witch (an irrepressible Jillian Kates) whose curses frightened everyone (or they should have), but who also delivered stunning proclamations via compelling solos.
Oh, yes, they all have big problems, but there’s more to come. When, for example, the innocent Little Red Riding Hood (a charming-at-first-then-delightfully-fierce Jaedynn Latter) skipped into the woods and met the Wolf (an uber-wolfish Dan Hoy). Hoy, who later charmed as Cinderella’s Prince, oozed evil as he sneaked behind Little Red and marked his territory. Very funny. But, of course, Red takes care of him later — as we know — and looks quite stylish when she ditches her red wrap for a cool wolf-trimmed leather jacket.
The rest of the fetching cast includes Rapunzel’s Prince (handsome Benjamin Michael Hall) whose duet with Cinderella’s Prince (Hoy) made even a song titled “Agony” a stunner. The long-haired Rapunzel (a mysterious Ángela Utrera) and M.A. Taylor (both a granny and a dutiful royal steward) rounded out the ensemble of extraordinary players who indulged extraordinarily well in extraordinary adventures — especially in the second act when the Giant (voiced by Hall) interfered with the happy endings created when act one wishes were granted.
Hidden from view, a small instrumental ensemble led by keyboardist Matthew Webb, offered all the musical support this magical story requires. Others who helped enchant us include choreographer Jaclyn Miller; costume designer Tesia Dugan Benson; lighting designer Trad A Burns; sound designer David Gotwald; hair, wig and makeup designer Nick Lynch-Voris, and production stage manager Imani Sade.
BOTTOM LINE: Life can be quirky, concludes Into the Woods. I agree. Cinderella, Little Red Riding Hood, the Baker and Jack find happiness (“No One is Alone”) in a way they never dreamed. And so did the audience (and I) on opening night. If you like musicals, there’s plenty to love both figuratively and literally (show runs a bit over two hours plus intermission). It’s a winning musical full of stars (present and future).
[Written by Laura Kennelly]
Cleveland, OH 44115