WHAT: Into the Woods
WHERE: Hackmatack Playhouse
HIGH POINT: The voices, voices, voices!
Into the Woods at Hackmatack Playhouse is all about the music and the voice, voices, voices. The musical, by Steven Sondheim and James Lapine features some of Sondheim’s most complex, exquisite and insightful music, which is blissfully delivered by this talented cast.
The script is a unique take on the world of fairytales, with the lives of characters from multiple stories overlapping and affecting one another in a single world.
Act I starts with the retelling of traditional forms complete with the usual happily-ever-after endings. By its finish, and through Act II, we go beyond to the consequences of the characters's actions.
The score is sublime, both its composition and lyrics are rich and complex from ditty to heart-wrenching lament. This talented cast does it justice and makes it soar with wonderful to exceptional voices, it's a case of an embarrassment of riches.
The voices are truly attractive and proficient across the board - solo to collective. But it would be a disservice not to mention the more than half-dozen that take it to another level; the cast is that rich. Emily Zentis as the Witch, Shaughnessey H. Gower as the Baker's Wife, Katie Gall as the Stepmother, Amelia Klippenstein as Red Ridinghood, Marcus Provost as Cinderella's Prince and Wolf, Emily Rose as Cinderella, and Linette Miles as Jack's Mother are simply outstanding, and not to be missed.
Zentis' witch is magic. The performance is spot on, but that voice! The Witch delivers "Stay With Me", one of musical theater's most moving works, and Zentis infuses it with all the pathos one can hope for in this standout tune. Her singing is stunning, whatever her tune.
Gower gives a deft performance, bringing a wonderful mix of sass and comic timing to the Baker's Wife, and slays each song she takes on, whether it's "It Takes Two" with Joseph Petmezis as the Baker (another fine performance) or mingled with the rich baritone of Provost in "Any Moment".
As for Provost, whether delivering the Wolf or Cinderella's Prince, he makes each character distinct - perfectly smarmy with swagger - and every song his own.
Michael Pullen as Rapunzel's Prince is appropriately pompous and hilarious.
Both Rose as Cinderella and Emma Joanis as Rapunzel nail the play's intended nontraditional take on their characters - clear, humorous and touching.
Miles gives perfect measure to Jack's mom, and Justin Demers' Narrator and Mysterious Man are spot on. Klippenstein creates an authentic spicy and smart Red while Matt McGrath makes for a charming, simpleton Jack.
They are also part of the quartet that performs "No One Is Alone", another tune deserving note. The exquisite commingling of Rose, Petmezis (who take lead on the song) with Klippenstein and McGrath is a show highlight.
The cast is aptly rounded out by Katelin Garland and KeYana Reid as Florinda and Lucinda respectfully, Kate Burns as Red Ridinghood's Grandmother and others, Hyla Fitchette as the Stewart, Violet Burns and Harper Burns as the Siblings, (double cast with Crosby Q Curtis and Clara Curtis), and Jordan C. Formichelli as Milky White.
Direction by Taryn Herman is solid. There are lovely, well staged moments, and others that play reasonably. Overall the action moves swiftly, scene changes are smooth, and certainly character development, the single most important element, is perfection. Herman really insures a character.
Music Director Miles Burns did a marvelous job with his singers, and equally well with the talented seven-piece band. It's a lively, big (and balanced) sound for the space.
The one drawback the day the show was viewed was sound. Repeatedly actors' mics were dropped, and some may not have been wearing them at all. Whatever the issue, hopefully it's rectified.
The production value's - set design by Meghan Flynn and costuming by Joey Martin - are sufficient. Money is clearly a factor. Still, they do the job.
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