Into the Woods
Stephen Sondheim and James Lapine’s cautionary tale, Into The Woods, explores the interesting question of what happens after ‘happily ever after’. It’s a tale that intersects a range of favourite fairy tale stories with the fate of the Baker and the Baker’s Wife as they all go into the woods for various personal quests. In Belvoir’s new stripped back production of the landmark Broadway show the music and lyrics take centre stage, proving why this was one of Sondheim’s greatest shows.
Central to this show is the Baker, played by Justin Smith, and the Baker’s Wife, played by Esther Hannaford, who both venture into the woods to break the cures that the Witch, played by Tamsin Carroll, has placed on their family to stop them from having children. While in the woods the encounter Jack, Marty Alix, of beanstalk fame and his mother, Lena Cruz, Little Red Ridding Hood, Mo Lovegrove, Cinderella, Shubshri Kandiah, and her prince, Tim Draxl. Also circling in the woods are Rapunzel, Stefanie Caccamo, and her prince, Andrew Coshan. The story is driven along by the Narration of Peter Carroll, who also double as the Mystery Man.
The intersection of so many characters, and so many fairytales, means that Lapine’s plot drives along at a rapid pace but in the careful hands of director Eamon Flack the audience never feels rushed or lost. Sondheim’s brilliant score has been cleverly re-orchestrated for two pianos and some percussion by Guy Simon. Although, inevitably, some of the richness of a full orchestra is lost Simon has cleverly maintained the heart of the score with Sondheim’s genius lyrics now taking centre stage. Michael Hankin and Micka Agonsta have cleverly designed the sets and costume respectively. There is little in the way of sets, other than a centre dais with two pianos, but small props used to set the scene. The costumes are vibrant and evocative of each character, with clever colour theming used to frame each unique storyline.
The performances from each cast member is consistent and powerful, without a single weak link in the cast. Smith and Hannaford are paired well as the Baker and his Wife with both reaching their emotional depth in the second act. Kandiah shines in another princess role, this time a very different Cinderella to the one she played in the musical Cinderella, once again showing why she is a perfect casting for such roles. Alix is outstanding as Jack with an effortless and touching performance of Giants in the Sky. Draxl brings a cool swagger to Cinderella’s Prince and doubles as the Wolf who eats Little Red Riding Hood, a memorable cameo in the first act. Peter Carroll once again brings his impish flight to the roles of Narrator and Mystery Man gliding through the stage and the character’s stories with delight.
But the highlight performance was Tamsin Carroll as the Witch. A notoriously difficult role, with the character transformation from the First to Second Acts, Carroll performs it impeccably. Her characterisation is captivating, although the choice of an Eastern European accent is strange, and her vocal performance sores. Right from the opening song with the Witch’s Rap you know you’re in for a treat each time she’s on stage. By come Act 2 with the Witch’s Lament and Last Midnight your transported to another stratosphere with her powerhouse vocals. It’s a joy to see her back on Australian stages.
It was a bold programming choice for Flack and Belvoir to mount a musical of such complexity and depth but in this production the show has been paired back to it’s basics without loosing any of it’s emotional heart. It’s a joyous and heart-wrenching show that you can’t help but feel engrossed in. Truly one not to miss.
