Wednesday’s preview night at the Guild Hall’s production of the musical Into the Woods saw the theatre packed to the rafters with an excited, expectant audience.
They were not disappointed.
The Baker and his Wife
“It’s extraordinary, said producer Katherine. “The full house gives the cast an understanding of how to work an audience…and where their feet are.” (The intimacy of the Guild Hall means performers and audience are often quite close to each other)
An unusual plot of Into the Woods brings both surprise and entertainment. The music by Steven Sondheim and book by James Lapine weaves familiar fairy tales into an original story of a baker and his wife wishing to have a child. The 1987 Broadway production won Tony Awards for Best Score and Best Book for a Musical.
The hapless couple are attempting to break a curse that causes them to be barren; setting the basis for this broad spectacle of storytelling and music.
The Witch
Act One has those recognizable fairy tale characters setting out to live “Happily Ever After” via the paths we all know and love. Jack climbs the beanstalk, Little Red Riding Hood encounters the wolf, Cinderella becomes the beloved of Prince Charming and Rapunzel escapes from the tower with her prince.
In this fable however, each of these characters is in possession of one of the ingredients necessary to remove the curse that has been placed on the baker and his wife.
At the end of Act One all appears to be well with the fairy tale world and everyone will live “Happily Ever After.”
But do they?
Act Two gives us a look into the world of what is, after “Happily Ever After” is found.
Each character faces the consequences of the actions and decisions they took to arrive there.
A giant arrives on the scene seeking revenge for the early demise of her husband. (Remember Jack and the Beanstalk?) Much controversy and disagreement ensues, including the death of some of the characters. Those remaining learn the necessity of working together to affect positive change and, together, they rid their world of the danger posed by the giant.
Red Riding Hood
All in all the production at the Guild was remarkable.
Director Gerald Isaac’s inspired use of a playground for the scene is perfect for the story. Emma Barr’s set design is well thought out, beautifully created and brings the audience into the playground as well as into the woods.
The transitions created on the small stage at the Guild were fascinating.
Brendan Wiklund created the light design.
Carl McClellan’s costumes added a crucial element in helping bring the characters to life.
The large cast ranged from veteran actors Bronwyn Jones (Witch) and James McCullough (Baker) to newcomers like Sarah Ott (13 years old) and 17 year olds Nick Jeffrey and Simone Kitchen.
Ott delivered a memorable performance as the narrator weaving the tale throughout the entire play. Jeffrey carried the difficult character of Jack with aplomb while Kitchen played both Rapunzel and Florinda (one of Cinderella’s nasty sisters).
The Witch was abrasive, nasty and loud; everything one could expect from such a character.
The baker’s wife, Shauna Jones and Murdoch played well together as the married couple desperate to have a child, then not being quite sure what to do with one when they get it. “Why does he always cry when I hold him?”
Little Red Riding Hood was at times cute and silly and at other times thoughtful and more subdued. Erica Bigland’s portrayal of her was excellently timed and delivered.
The Wolf
Mary McIvoy, playing Jack’s mother, provided a strong presence on the stage and had the audience captivated at times and laughing hysterically during others.
Cinderella’s stepmother, (Sophia Marnik) and two step-sisters (Heather Grant and Simone Kitchen) provided much subtle comedic background throughout the performance.
Another pair worth watching were Winluck Wong as Prince Charming and Christopher Tessier as Rapunzel’s Prince. Bringing today’s technology and the age old quest for love together, their performances were enthralling.
The princes were often accompanied by The Steward, played by Mike Tribes, whose sole purpose seemed to be to make sure everything goes well for the to royal lads.
Wong also plays the randiest wolf that has ever eaten a grandma.
Cinderella and Step-Family
Rebecca Whitcher’s voice is clear and melodic as her Cinderella delivers songs of happiness and hope as well as some more sorrowful. Whitcher also showed a strong affinity for using facial expression in communicating.
Characters and set both shook with fear on the arrival of The Giant, played by Katherine McCallum.
The cast began working on this production in January, 2011 by working with vocal coach Barbara Chamberlin.
Musical director Brad L’Ecuyer arrived at a later date and infused the music with his vision.
The inclusion of a live band with Robbyn Chiles, Brad L’Ecuyer, Kieran Poile and Ken Searcy brought another level of interest and intrigue for the audience. The music and chorales in this play are fun and entertaining; delivered with joy and sadness depending on the piece.
The Song "No More"
One would have to have ice water flowing in their veins to not be moved by the duet titled No More that was performed by the Baker and the Mysterious Man (Bruce Barrett) toward the end of the play.
Into the Woods is a fairy tale like you’ve never seen before. However, like all fairy tales it carries some strong messages that we can all take away with us.
The night I was there only one small child was in the audience with all the adults. Her laughter was infectious and triggered even more from the audience.
I suggest you pack up your friends and family and head out for an exciting evening of theatre at the Guild Hall.
Into the Woods is playing from April 14 – 30 (Wednesday through Saturday) with family matinees being Saturday April 23 and 30. Tickets are available at Whitehorse Motors.
See more photos from the production here.
Norm
Norm Hamilton is a freelance writer and photographer based in Whitehorse.
Great review, Norm. I saw a community production of this show in Ottawa years ago and just love it. Your review makes me me even more eager to see the show again… twice!
Michael and I have our tickets for an evening performance, and I’ll be taking Jade and one of her preschool friends to a matinee performance. You can’t get the matinee tickets in advance, so I hope we don’t have any trouble getting in.
I would add that the matinee performances are the first act only, which ends with the “happily ever after” feel suitable for the younger audience.
Thanks Fawn.
Your point about the family matinee’s ending on the “Happily Ever After” note is a good one. That is the whole purpose for putting them on. From what I saw, this show is one that children of all ages will enjoy and remember for a long time. I know this “child” certainly will.
Nice review, Norm. And a great gallery of images. Fascinating to watch such clear visual evidence of the characters’ storylines developing, without even seeing the play. I’m really looking forward to attending. Thanks for posting this.
Thanks Ken. I’ve received a number of emails and calls from folks saying they appreciated the posting and photos and are planning to head out to the play. Nice to hear.
Norm
Norm,
I’m glad you have taken on the daunting task of reviewing theatre in a small community. It can be difficult to provide objective opinion when the people involved are friends and family. Since most of your reviews have been positive is it safe to assume you are only posting reviews of plays that you’ve enjoyed? Two other things:
1. Don’t you think you should disclose your relationship with the Guild?
2. Reviews are usually done on the opening night of a performance. If Spiderman: Turn Off the Dark has taught us anything it’s that reviewing a preview is sketchy business.
Now, I’m just being nit-picky here, but thanks for writing about Whitehorse theatre. As I said above the role of a critic is a difficult one; a critic in a small community has extra hurdles to navigate. I especially appreciate the exposure you give Whitehorse theatre since I am stuck Outside for most of the year and don’t get the opportunity to see many of these shows.
Sam
Thanks for your comments Sam.
Just so you know, I’m not taking on any daunting task, just writing on what I’m prompted to write on. I don’t believe it’s my place to “critique” as I’m not an expert, nor trained in theatre.
I like writing about what I enjoy and to show appreciation for the work and talent that others share with us. I try to adhere to the adage, “If you can’t say something nice, don’t say nothin’ at all” in the case of writing about productions. Thus, I end up writing more positively I suppose. Is there a better term to use other than “review” in these cases?
As for my relationship with the Guild, I am a former board member, but haven’t been for a couple of years now. My daughter manages the facility, but again, I have no direct involvement. I have written in the past on non-Guild productions.
This is not a critique style of review, just my observations. I always take into consideration when I am viewing a play whether it is a preview or not as well. I realize I was there on the last preview night and was thrilled to see how far it had come from a few nights earlier at dress rehearsal. Unfortunately, I could not be there opening night, but still wanted to provide my readership with my thoughts. Hopefully, it will encourage some to take in more of Whitehorse’s wonderful theatrical opportunities.
Nice hear from you. I look forward to seeing you when you are next in Whitehorse. Have a great weekend.
Norm
I think you may have hit the nail on the head when you asked if there is a better term to use than “review”. In my mind a review means you are entering the formal arena of a critic. There are certain responsibilities that I believe a reviewer should adhere to.
I’ve written about theatre from the perspective of an audience member a few times, one of them can be found here:
https://www.facebook.com/note.php?note_id=133013170098146
I simply called the entry “my thoughts”. This freed me from the formality of a review, and allowed me to speak from personal experience rather than objective opinion. Maybe that is the direction you want to go?
I know I seem anal arguing over the usage of a term, but I think it is important for the community to really define what a review is. From the perspective of an actor I love hearing audience opinion on my work, but I treat a formal review quite differently.
Again, thanks for taking the time to write about theatre in Whitehorse. I’ll be up next month and I look forward to seeing you.
Sam
PS – I didn’t know you were no longer on the board, their loss.
Thanks again Sam.
I have been sitting on the board of Nakai Theatre now since last fall. Thought it’d be an opportunity for another view of the Arts world as well as being able to offer my assistance where needed.
I will take your suggestion to heart and use a different term when notifying of my experiences with various art forms from now one so there is no confusion as to the intent.
Hi Norm and thanks for sharing your thoughts on the show. I wanted to add to your comments. I am the Stage Manager and TOTALLY biased, but let me introduce some non-human characters in the show.
Milky White is a cow on wheels created by Mike Tribes. Milky is pivotal to the plot, not to mention cute as all get out, and Jack’s pet.
The hen that lays the golden egg makes an appearance on wheels. She started life as an Easter duck, but underwent a radical species-change operation for our show.
The controversial String Baby plays the part of the Baker and Baker Wife’s child. String Baby has issued a denial via Facebook of the truth of any and all rumours of any foul play in ousting Bag Baby in order play this much coveted part. Her/his bio is available in the Guild lobby.
Also watch for the magical harp that plays music without being touched! How can this be?
The part of Cinderella Prince’s horse is played by ‘little horsie” contributed by Tessera Jones. Thanks Tessera!
See you at the show!
Susan
That should be “Big Baby”. Many apologies to the McCullough family.