St. Mike's has fun with Sondheim
Toolbox
By Jim Lowe Times Argus Staff - Published: June 22, 2007
COLCHESTER – Like "Fractured Fairy Tales" on the legendary animated "Rocky and Bullwinkle Show," the Broadway musical "Into the Woods" twists traditional fairy tales ever so slightly, adding subtle adults-only double entendres – but it is also set to Stephen Sondheim's witty music.
Saint Michael's Playhouse opened its 60th season on Tuesday at Saint Michael's College, with a delightful and hilarious production of "Into the Woods." The production values were among the highest in St. Mike's long history of professional theater, and the opening night performances were consistently charming and fun.
With Sondheim's music and lyrics, book by James Lapine, "Into the Woods" had its Broadway premiere in 1987, winning Tony Awards for best score, best book and best actress, and the Drama Desk Award for best musical. It has also long been a staple for community theaters everywhere – where it often seemed long and boring – so it was somewhat of a revelatory experience seeing an excellent professional production.
Basically, the show begins with four fairy tales – "Cinderella," "Jack and the Beanstalk," "Little Red Riding Hood" and one I didn't recognize – but soon they are all intertwined when the characters meet in the dreaded woods. Cinderella must go through the woods to get to the castle – she doesn't get a pumpkin-coach in this version. Jack must make his way to sell his cow that will eventually get him the magic beans. The baker and his wife, from the tale I don't know, are out seeking items to pacify the witch so that she will remove the spell that keeps them childless. And, of course, we know why Little Red Riding Hood was there.
When the characters meet in the woods, they interact – often invoking other tales – and move toward their expected happily ever after ending. Jack gets his beans from the childless man; Little Red Riding Hood develops a crush on Jack (despite her sexual attraction to the wolf); the childless woman steals a lock of Rapunzel's hair to give to the witch, etc. At this point, it's a show fit for kids, but rife with humorous sexual innuendo and fun.
In the second act, though, everything gets darker – the characters must pay for their sins. The wife of the giant that Jack slew has descended to earth looking for revenge. Cinderella's prince, bored with his perfect wife, has an affair with the baker's wife, and Cinderella ditches him. In short, reality sets in – and more unwanted fun for the characters. Sondheim's music for this show isn't terribly memorable, but it adds spice to the already racy action.
The Saint Michael's Playhouse production, directed and choreographed by Gregory Ramos with musical direction by Tom Cleary, is fast-paced and fun, and largely polished. The level of singing, which was miked, varied widely, but none was bad and it was always effective. Still, the second act could use a little tightening – it's a long show. And some of the characterizations were particularly enjoyable.
Sujana Chand's Witch was wonderfully wily and fun, and Chand was an excellent singer, with a torch-singer flavor. In her final number, "Last Midnight," her voice was sultry and darkly beautiful as she exalted in the terrors of the night in the woods.
Another good singer was Andrea Wollenberg as the Baker's wife, with a strong soprano. She was well-matched by John Patrick Hayden's earnestness as the Baker. Abby Lee sang brilliantly as Cinderella, and moved from the insipid girl to woman of the world quite effectively. Kathryn Markey was delightfully overbearing as her stepmother.
Lilly Tobin played Little Red Riding Hood as the cute little girl who plays it for all it's worth, and it was very effective and funny. Although he had a little trouble with the singing, Marc Tumminelli was a riot as the not-so-swift Jack. Mary Carol Magazini was very effective as Jack's desperate mother. Adam Sansiveri and Andrew Zane Fullerton were perfectly insipid as the princes.
Chip Phillips proved quite effective as the narrator, but was even more fun as the Mysterious Man, the ogre of the woods who keeps popping up at the most inopportune times.
The storybook set by Carl Talent was imaginative and effective, complemented by excellent lighting by John B. Forbes and stylish costumes by Sarah Moore. Andrew Miskavage conducted the pit orchestra that, despite occasional out-of-tune playing, sounded quite food.
Simply put, St. Mike's "Into the Woods" is a most entertaining evening at the theater.