[NEohioPAL] Review of "Into the Woods" by GLTG

[Bob Abelman]

GLTG forges a straight and narrow path through 'Into the Woods'

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier

Member, International Association of Theatre Critics 

 

This review appeared in the News-Herald 4/1/11

Sometimes theater is too hard.  Sometimes it's too soft.  And sometimes it's just right.  The Geauga Lyric Theater Guild production of Stephen Sondheim's fairytale-infused Into the Woods, currently on stage in Chardon, is all three.

In general, Sondheim's musicals are hard.  His subject matter is often disturbing-the vengeful spirit of a murderer in Sweeney Todd, the tortured souls of assassins in Assassins, and the complex psyche of the artist in Sunday in the Park with George, for example. 

He blurs the line between lyric and dialogue, filling the air with a dense stream of words and vivid images. 

He folds disorienting discord into his music, which allows the audience to ride the pleasant melody while simultaneously sensing a disturbing undercurrent just below the surface.   

Consequently, many theatre goers find his work outside their comfort zone and beyond their long-established expectations for what constitutes musical theater.  

Into the Woods gives the false impression that it is a more accessible, less demanding slice of Sondheim (and playwright James Lapine).  After all, it intertwines the familiar storybook plots of several well-known Brothers Grimm tales, including Little Red Riding Hood, Jack and the Beanstalk, Rapunzel and Cinderella.  Fairytale characters travel into a dark, enchanted forest in search of what they want in life.  Yet, this musical bears all the trademarks of a Sondheim musical and remains a hard, challenging piece of work to perform and consume.

Act I of the GLTG production of Into the Woods is too soft. 

Director/music director/choreographer Karen Porter and her cast of community players accentuate the fairytale façade of this play while dismissing the more foreboding subtext.  As such, characters are too simply drawn and the woefully understaffed orchestra offers only melody, with none the interesting stuff underneath.  Porter's choreography, which is tied to the melody, follows a relatively straight and narrow path through Into the Woods.

Act II, however, is just right. 

Here we are exposed to the dark underbelly of once upon a time.  Act II reveals the consequences of each character's earlier actions.  We discover that getting your Prince does not mean happily ever after and having your wish granted can have a serious downside.  

By softening the overall approach to this play, the darker Act II as presented in this GLTG production is actually just right for those uncomfortable or unfamiliar with Sondheim.  Even fans of Sondheim will find much to like in the second half for, with a bit more substance to sink their teeth into, many of the players step up their performances to reveal their characters' complexities and their own acting chops.  

Particularly fine Act II performances are turned in by Gina Piotrkowski as the Baker's Wife, Shannon Metelko as Little Red, Paul Josell as Cinderella's Prince, Julie Connair as Jack's Mother, and Ryann Angelotti as the Witch.  Angelotti's performance is particularly compelling, for she chomps at the bit to give more dimension to the Witch in Act I and delivers it in Act II. Her "Children Will Listen" number at the end of the show is spellbinding.

Sean Thompson's simple but effective set design and Patrick J. Fagan's lights add much to the quality of this softer, sanitized but satisfying Into the Woods.  

Into the Woods continues through April 10 (8pm Friday and Saturday, 2pm Sunday) at the   Geauga Theater, 101 Water Street, Chardon.  For tickets, which range from $15 to $18, call 440-286-2255 or visit www.geuagatheater.org.
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