Into The Woods

So I am going to take a few moments to break from my burlesque blog and inset a bit of my first love, "musical theatre"! 

This past weekend I had the opportunity to see one of my favorite shows at one of my favorites Seattle theaters.  Seattle Musical Theatre, up in Magnusun Park, is currently running a production of INTO THE WOODS. Written by Stephen Sondheim, the show combines various fairy tales and takes you on a journey from "I wish!" to "Happily Ever After" to After Happily Ever After.  The journey takes you into "the woods" a magical realm that tends to play tricks on the mind, and changes all who pass through it.

I could go on and on about the "deeper meaning" and all that jazz, but I'd prefer to do that in person so if you are interested, look me up and we'll have tea and talk theatre.  The purpose of this review is to pique your interest in some fantastic talent and a well constructed production.

First allow me to say that Into The Woods, like many Sondheim shows, is a difficult piece of theatrical material.  The music is unneccessarily complex, and at times sounds wrong (though I assure you it is right).  Complicated rythms, fast words work and more make Into The Woods a challenge for any actor or singer that approaches it, but it is that complexity and challenge that makes a well done production all the more impressive.

I will admit that I had second thoughts when I first came into the auditorium.  The "books" set on stage, to signify the three main stories that we would follow where painfully crafted projections.  But as the lights dimmed, the Narrator stepped on stage, and Cinderella uttered the first notes of the show, I let myself forget the projections (at least until intermission).

With very few exceptions the talent on stage Saturday night shined.  The actors brought depth, conflict and meaning to characters that can be easily turned into one-dimensional storybook cut outs. 

V.J. Orduna and Britt Boyd as the Baker and his Wife, Collin Madison as Jack (from Jack and the Beanstalk) and Julie Drummond as Little Red Riding Hood set the bar for the show.  V.J.'s soft-spoken performance emphasized the uncertain nature of the Baker. Britt's jazzy-grit gave earthiness and spice to the Wife, a bored woman who finds passion in the woods.  Colin deftly explored the full range of Jack's youthful innocence, from playful to unconditionally caring to the edge of razor sharp wrath.  Julie, as Red was sarcastic, bitey and to the point, and she wielded her words like the knife her Granny gave her.

These four played their roles well, and brought life to the archetypes upon which the show is built, working together they formed the heart of the show.

As Cinderella, Ashley Coates provided the "wings" that allowed that heart to soar.  With excellent comedic time and some very good pratt falls, Ashley played the lovable clutz running from a Prince she didn't ask for.   When the time called for it however, Ashley drew deep and revealed the bittersweet soul that lay beneath both peasant girl and princess.  Her vocal performance was stunning, and hearing her sing "No One Is Alone" is reason enough to see the show!

Dallas Milholland excelled as the Witch.  Comically energetic (ever seen a fairytale hag rap?) to begin with, she becomes stately when her beauty returns.  Dallas provided one of the most haunting moments of the show as she sung Last Midnight directly to the Baker's son, a chilling lullaby and an excellent directing choice by Victoria Webb.  The Witch is far from a stereotypical villian, but can be played as such.  Dallas did not shirk from taking her character farther then the paper doll antagonist and explored every inch of her humanity.  Brava.

The best performance of the night was given by Josh Ryder who doubled (as is tradition) as The Wolf to Little Red, and Cinderella's Prince.  Josh is no stranger to SMT's stage, and I have enjoyed his performances each time, but these two roles seem custom made for him.  As the Wolf he is both intensely sensual and he so strongly channels the animalistic energy of a wolf, that he manages to play the sexual predator without being creepy.  As Cinderella's Prince, Josh is refined, charmingly flamboyant and comically snobbish, whats more he is human.  In his confrontation with Cinderella in ACT II, he reveals a self-knowledge and understanding that makes him sympathetic to the audience.  He can't be what Cinderella wants, he can't even be what the kingdom wants; so his solace... get lost in The Woods and just take it, moment by moment.  Josh can sing (and has a howl that made my mouth water), dance, and act. If I didn't have a huge crush on him, I'd be jealous.  :-)  Amazing work!

The remaining aspects of the show all met the standard I have come to expect from SMT.  The small intrumental ensemble directed by Paul Linnes worked well together, and provided a quality of sound that I have seen much larger music pits lack (even at higher budjet theatres).  The scenic shifts where smooth, as trees moved quietly through the muted lights and colors of The Woods.  The sound was a little unbalanced, with SFX levels being inconsistent but vocal volumes where steady enough that the audience could hear the actors sing, and really that is the most important thing.

With my critiques and praises shared, let me just say that I thoroughly enjoyed this production and I want to recommend all of my readers to go see it if you have a chance.  Despites its reputation as a show that "performers love" (SMT had to add two whole nights of auditions because so many people wanted came out for it... that

s 5 nights of audtions!), but does not have the best box office ratings, SMT's production is selling so don't wait too long.  Tickets can be purchase at http://www.seattlemusicaltheatre.org/ or call 206-363-2809.  INTO THE WOODS will be playing for two more weekends!