[NEohioPAL]Berko reviews: INTO THE WOODS (LAKELAND), DANCEBRAZIL (CAIN PARK)

[Roy Berko]

INTO THE WOODS AT LAKELAND; DANCE BRAZIL AT CAIN PARK

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

‘INTO THE WOODS’ STRAYS OFF THE PATH AT LAKELAND 

The initial concept for the award winning musical
‘INTO THE WOODS’ was for writer James Lapine to devise
an entirely original story.  Instead, he hit upon the
notion of uniting numerous characters from familiar
literature: Cinderella, Little Red Ridinghood, Jack
(of Beanstalk fame) and Rapunzel.  

Lapine’s self-explained purpose was to show what
happened in reality, in contrast to the "they lived
happily-ever-after" endings purported in the fairy
tales.   A child psychologist explained the symbolism
of the woods in these tales as "the place in which
inner darkness is confronted and ...where uncertainty
is resolved about who one is ... or who one wants to
be."   It is only when we see the light that we can
really find our way and face our hidden fears. 

Lapine's book is dark, wise and oft-times enchanting. 
When combined with the words and music of America’s
most brilliant musical author Stephen Sondheim, the
delightful first act was intended to be a sharp
contrast to the lesson-teaching second segment.  

Sondheim's score is gorgeous and witty, especially in
the first act.  The show contains such wonders as
"Stay With Me" (often called "Children Will Listen"
because of its key line), the poignant "No More," and
the lovely "No One is Alone." 

Unfortunately, instead of following the authors’
intent and purpose, Lakeland Theatre’s director Martin
Friedman decided to stray from the path.  As he states
in his director’s notes, "With this production I have
chosen to eliminate any of the sarcasm and excess
cynical humor that the original production utilized."
With this change of emphasis, Lakeland’s production
loses the play’s purpose.  In contrast to words
"delightful," "wise," "adorable," and "meaningful"
which were found in most of the reviews of the
original 1987 Broadway show and its 2001 revival,
words like "dreary," "boring" and "gloomy" seem to
better fit.  

In the Lakeland production, Alex Wyse is delightful as
Jack.  This lad can sing and act.  Sandra Emerick
sings and interprets well the role of the Baker’s
wife.  Paul Floriano develops a believable character
as the Baker.   Emerick and Floriano’s rendition of
"It Takes Two" is one of the show’s highlights.   Toni
Cervino is enchanting as Cinderella.  She has a fine
singing voice and gave a textured acting performance. 
 As the witch, Maryann Nagel lets loose in the second
act, after a too controlled first act.   Her singing
voice, as always, is radiant.  Tiffany Gates sings the
role of Rapunzel effectively.  Donnie Long has a nice
singing voice, but his portrayal of Cinderella’s
Prince was shallow.  Ryan Bergeron proficiently sings
the role of Rapunzel’s Prince, but he overacts at
times.  Doug Farren was not believable as either the
narrator or the mysterious man.

Some questionable blocking, awkward set changes, a
good but over-loud orchestra which drowned out many of
the spoken lines, boring choreography consisting
mainly of cross-over steps and marching in place,
mumbled lines, lack of articulation of song lyrics,
some poor singing blends, and dark lighting spots on
the stage, didn’t add to the festivities.

This is not to say the show is to be avoided.  That’s
not the summary message.  There are enough good
moments to make the production enjoyable. But go
realizing that instead of finding the clearing, the
production gets lost in the woods.

For tickets to ‘INTO THE WOODS, which plays through
August 3, call 440.975.4774 or 440.953.7034

(Make sure you get to the performance in time to view
Jerry Schmidt’s fine solo exhibition of steel
sculpture in the Lakeland Community College’s Fine
Arts Gallery in the theatre’s lobby.)

 UNEVEN DANCE BRAZIL AT CAIN PARK

For over 25 years, the celebrated dancers and
musicians of DanceBrazil have been among the foremost
interpreters of Afro-Brazilian culture. The company's
signature qualities are power, precision, passion, and
eye-popping virtuosity.   Under the banner, "We've got
movement! " the company is now on an international
tour.  In between stops in Germany and such US sites
as NY, Washington, DC and Chicago, they stopped for a
single night at Cleveland Heights’s Cain Park.  

The group’s purpose is to spread their cultural
message by bringing the art of capoeira to audiences. 
Capoeira is the Afro-Brazilian martial art that has
become a cultural phenomenon.  It is music and
movement blended into the elements native to the
Brazilian traditions of the samba, candomblé, and
modern dance.  It was originated with slaves who used
to dance to hide their fighting techniques.   It
consists of twisting, turning, somersaulting, and
posing.

If only the company had stuck to their capoeira task
in the program at Cain Park.  As is, though the
capacity audience gave the troupe a standing ovation,
the program was uneven.  The very short first segment
consisted mainly of singing by four musicians. 
Because the audience came to see dance, and the
quartet was in the orchestra pit below the viewers,
and the music was repetitious, the reception was not
positive.  Many patrons talked all through the musical
interludes.

The second act exploded.  It was exciting and
enthralling.   Here, we got to see true capoeira in
action.   Too bad the whole program didn’t hit that
level.  

The male dancers were superb, especially the
capoeiristas--Francisco Braga, Francisco Dalforne Dos
Santos, Danilo Portugal and Leandro Silva.  

The printed program did little to help the evening. 
It gave no hint that what was to be viewed was a
series of short dances.  It also failed to explain the
art of capoeira.  It did not explain that there would
be as much music as there was dancing.  There was no
list of the musical or dance offerings so trying to
anticipate what was coming, or who was dancing in any
segment was impossible.  Whoever prepared the program
needs to realize that the purpose of the printed words
is to aid the audience to understand and appreciate
the staged offerings. 

In part because of the printed program, and the lack
of clarity on the part of the performance programming,
the audience was completely caught by surprise when
intermission came.  People sat, unsure of what to do. 
The same thing happened at the end when the audience
was unaware that the curtain call was in progress.

Segments of DANCE BRAZIL’s presentation were
explosive, exciting and enthralling and met the
viewer’s high expectations.  As a whole, however, this
was a somewhat unfulfilling presentation.


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