Into the Woods performed by District Theatre Collective at the Gas Station Arts Centre as part of Sondheim Fest, January 30, 2013
Reviewed by Stephanie Adamov
Into the Woods marks the final wave of Sondheim shows for Winnipeg’s Master Playwrights Festival. Though the festival closes this Sunday, there is still plenty of time to see shows like Follies, The Last Sheila and the subject of my last review, Assassins. Marking the first time the Festival has been dedicated specifically to musical theatre, Sondheim Fest 2013 will end with a spectacular evening of highflying karaoke on February third.
District Theatre Collective aims to expose Winnipeg audiences to new and exciting theatrical experiences. The newly formed company is clearly innovative and ambitious. The goal? Perform works they enjoy for audiences that are sure to enjoy them too. Past shows such as their sold-out production of Avenue Q and the Fringe 2012 hit The Agony and Ecstasy of Steve Jobs have proven just that. Their contribution to Sondheim Fest merges the company with the mainstream Winnipeg theatre circuit as they continue to build both their company and repertoire.
District Theatre Collective’s production of Into the Woods; Photo by Leif Norman
Into the Woods, as a musical with music and lyrics by Stephen Sondheim and book by James Lapine, follows the trend of exposing what happens after the ‘happily ever after’ provided by the Grimm Brothers. Debuting in San Diego in 1986, only to find Broadway a year later, the show held its own at the Tony Awards amid the Goliath production, Phantom of the Opera. Certainly a precursor for musicals such as Wicked, the show harnesses audience expectation and steers it in a totally unexpected direction.
Into the Woods unsurprisingly abides by Sondheim’s traditional not-so-easy happy endings. Directed by Connie Manfredi, this prairie edition is jam packed with aspiring performers and performances. The production ambitiously looks at the fairy tales from the eye of a child. This concept could have been extrapolated much more but the young Mackenzie Wojik takes the reins and holds his own as the narrator.
The story centers on the plight of the baker and his wife, as they are unable to have children. Less than six degrees of separation connects them to Giants, Rapunzel and Cinderella. The Witch, portrayed by Laura Olafson, sends the couple on a quest to seek several objects weaving the Grimm tales together. However, after the couple receives their ‘happy ending,’ the consequences of the adventures of the first act are exposed after intermission.
The show was oddly balanced as the comedic and farcical first act was awkwardly paired with a second act that was passionately dramatic and melancholy. Though there were ‘moments in the woods’ that relieved the pressure of the threatening foot of an approaching revengeful female giant, most of the memorable performances during this two hour and forty-five minute performance were delivered before the intermission lights went up.
The lyrical prologue introduces the fairy tale characters and blends the woes of Jack (and the Beanstalk), Cinderella, Rapunzel and the baker. As a piece, it exposed the musical strengths and weaknesses of the young performers as some of Sondheim’s notes remained slightly out of range for several voices. However, Olafson as the Witch gained audience admiration through her syncopated and calculated movement and distinct diction. As a slight antagonist to the story, she remained a crucial link to ensure the baker and his wife, played by Colin Peterson and Aubree Erickson, stayed on track and on task.
Sam Plett as the Wolf that leads Riding Hood astray was charismatically canine. With a pelvis like Elvis, “Hello, Little Girl” was seductive and spellbinding. Reappearing as Cinderella’s Prince, his quick turn of phrase left audiences lingering for more. Plett was joined by his ‘Prince Charming’ brother (Rapunzel’s Prince), Darren Martens. Together, the pretty pair of princes performed the duet ‘Agony’ which sheds light on the incredibly harsh life of a Prince who thrills for the chase of a damsel in distress… regardless if he is already married to his last pursuit.
The set, similarly to Assassins,exposed the back wall of the stage and was quite bare. Perhaps allowing optimum movement for the actors, the simple approach was disguised by impressive side lighting to emphasize the fairytale expressions of the actors. With a story taking place in the woods, I had hoped for a tree or two, but maybe, and this could be a stretch, it provided the audience with an ability to imagine a fairy tale world just as they would have as children.
Admittedly, certain performances from the cast of fifteen left something to be desired, but several stand-out characters left the night a memorable one. The voice of Nelson Bettencourt as Jack lifts audiences to new heights during “Giants in the Sky.” The Pooley sisters (Paige and Robyn) were picture perfect as the evil stepsisters of the practical and realistic princess-to-be, Cinderella, played by Julie Lumsden.
Despite several lumps and bumps along journey, Into the Woods should provide an entertaining evening for every inner child.
Into the Woods by District Theatre Collective at Gas Station Arts Centre, 445 River Ave., Winnipeg. Performances: January 30 to February 2, 8 pm
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Into the Woods performed by District Theatre Collective at the Gas Station Arts Centre as part of Sondheim Fest, January 30, 2013
Reviewed by Stephanie Adamov
Into the Woods marks the final wave of Sondheim shows for Winnipeg’s Master Playwrights Festival. Though the festival closes this Sunday, there is still plenty of time to see shows like Follies, The Last Sheila and the subject of my last review, Assassins. Marking the first time the Festival has been dedicated specifically to musical theatre, Sondheim Fest 2013 will end with a spectacular evening of highflying karaoke on February third.
District Theatre Collective aims to expose Winnipeg audiences to new and exciting theatrical experiences. The newly formed company is clearly innovative and ambitious. The goal? Perform works they enjoy for audiences that are sure to enjoy them too. Past shows such as their sold-out production of Avenue Q and the Fringe 2012 hit The Agony and Ecstasy of Steve Jobs have proven just that. Their contribution to Sondheim Fest merges the company with the mainstream Winnipeg theatre circuit as they continue to build both their company and repertoire.
District Theatre Collective’s production of Into the Woods; Photo by Leif Norman
Into the Woods, as a musical with music and lyrics by Stephen Sondheim and book by James Lapine, follows the trend of exposing what happens after the ‘happily ever after’ provided by the Grimm Brothers. Debuting in San Diego in 1986, only to find Broadway a year later, the show held its own at the Tony Awards amid the Goliath production, Phantom of the Opera. Certainly a precursor for musicals such as Wicked, the show harnesses audience expectation and steers it in a totally unexpected direction.
Into the Woods unsurprisingly abides by Sondheim’s traditional not-so-easy happy endings. Directed by Connie Manfredi, this prairie edition is jam packed with aspiring performers and performances. The production ambitiously looks at the fairy tales from the eye of a child. This concept could have been extrapolated much more but the young Mackenzie Wojik takes the reins and holds his own as the narrator.
The story centers on the plight of the baker and his wife, as they are unable to have children. Less than six degrees of separation connects them to Giants, Rapunzel and Cinderella. The Witch, portrayed by Laura Olafson, sends the couple on a quest to seek several objects weaving the Grimm tales together. However, after the couple receives their ‘happy ending,’ the consequences of the adventures of the first act are exposed after intermission.
The show was oddly balanced as the comedic and farcical first act was awkwardly paired with a second act that was passionately dramatic and melancholy. Though there were ‘moments in the woods’ that relieved the pressure of the threatening foot of an approaching revengeful female giant, most of the memorable performances during this two hour and forty-five minute performance were delivered before the intermission lights went up.
The lyrical prologue introduces the fairy tale characters and blends the woes of Jack (and the Beanstalk), Cinderella, Rapunzel and the baker. As a piece, it exposed the musical strengths and weaknesses of the young performers as some of Sondheim’s notes remained slightly out of range for several voices. However, Olafson as the Witch gained audience admiration through her syncopated and calculated movement and distinct diction. As a slight antagonist to the story, she remained a crucial link to ensure the baker and his wife, played by Colin Peterson and Aubree Erickson, stayed on track and on task.
Sam Plett as the Wolf that leads Riding Hood astray was charismatically canine. With a pelvis like Elvis, “Hello, Little Girl” was seductive and spellbinding. Reappearing as Cinderella’s Prince, his quick turn of phrase left audiences lingering for more. Plett was joined by his ‘Prince Charming’ brother (Rapunzel’s Prince), Darren Martens. Together, the pretty pair of princes performed the duet ‘Agony’ which sheds light on the incredibly harsh life of a Prince who thrills for the chase of a damsel in distress… regardless if he is already married to his last pursuit.
The set, similarly to Assassins,exposed the back wall of the stage and was quite bare. Perhaps allowing optimum movement for the actors, the simple approach was disguised by impressive side lighting to emphasize the fairytale expressions of the actors. With a story taking place in the woods, I had hoped for a tree or two, but maybe, and this could be a stretch, it provided the audience with an ability to imagine a fairy tale world just as they would have as children.
Admittedly, certain performances from the cast of fifteen left something to be desired, but several stand-out characters left the night a memorable one. The voice of Nelson Bettencourt as Jack lifts audiences to new heights during “Giants in the Sky.” The Pooley sisters (Paige and Robyn) were picture perfect as the evil stepsisters of the practical and realistic princess-to-be, Cinderella, played by Julie Lumsden.
Despite several lumps and bumps along journey, Into the Woods should provide an entertaining evening for every inner child.
Into the Woods by District Theatre Collective at Gas Station Arts Centre, 445 River Ave., Winnipeg. Performances: January 30 to February 2, 8 pm