Into The Woods

Stephen Sondheim and James Lapine’s fairytale musical mash-up needs little introduction just months after Disney’s screen adaptation.

A collection of fairy tale characters venture into the woods in search of their wishes in act one, before finding themselves in a world devoid of happy endings in act two.

Chatswood Musical Society’s production, with a splendidly balanced ensemble cast (there doesn’t seem to be a weak link) is vocally amongst the best I have heard on the community theatre circuit, doing a great job with this incredibly challenging Sondheim score.  They’re supported by as good a sound mix as you could possibly ask for, with an excellent balance between the musical director Anthony Cutrupi’s musicians, hidden behind the scenes, and the singers.

Characterisations are strong, relationships credibly developed, and the commitment to storytelling consistent.

Tim Page frames the production with a strong sense of traditional storytelling as the Narrator. Jamie Collette and Jessica James-Moody establish a warm, lively rapport so essential from the Baker and the Baker’s Wife, while stamping their mark on individual acting and big vocal moments.

Chapin Ayres’ scary-yet-wise Witch navigates Sondheim’s challenges, from tongue-twisters to sweeping ballads, with aplomb. Alexandra de Zwart’s Cinderella combines the requisite sweetness, underpinned by knowing and spunk, with assured vocals.

Tim Garnham’s Jack is delightfully boyish; Kate Mannix balances bossiness and maternal love nicely as Jack’s Mother; Joshua Rogers pairs contrasting dash as Cinderella’s Prince with sleazy assurance as the Wolf; with little to say, and one repeated wordless strain to sing, Michaella Edelstein finds fun and pathos as Rapunzel; Richard Woodhouse’s high camp interpretation of Rapunzel’s Prince, though, really leaves me wondering how they produced twins; Tisha Kelemen is bustling and boisterous as Cinderella’s Stepmother; Kathy Xenos and Heather Campbell give stepsisters Florinda and Lucinda a nice bitchy edge; Sarah Dolan’s Little Red Riding Hood breaks the physical stereotype, but displays great energy and enthusiasm; among multiple roles Inara Molinari impresses as a feisty Granny; Anthony Young is aptly officious as the Steward, while Allan Royal  creates a doddery cameo as Cinderella’s Father.

In an interesting departure, mature character actor Mary Bentley played Milky White, the cow. I wondered about this decision at first glance, but was quite drawn in by her deliciously underplayed nuances.

Melissa Trickey’s choreography is particularly effective in the tight space of the Zenith stage, further constrained by the set pieces used in the production.

While I was initially impressed by a cartoon-styled set, and the attractive abstract woods which follow, the concept didn’t really seem to carry through into the requisite chaos in act 2, where the woods seem more denuded of undergrowth than trampled. Costuming, too, sometimes felt understated.

Moments that suggest a touch of theatrical magic seem underdone, for instance, the witch’s transformation lacks any wow factor or sense of concealment, while the absence of any visual representation giant requires a far greater, unified sense from the cast that they are actually seeing her out above our heads.

Overall, though, it’s the terrific singing and storytelling of an admirable ensemble cast that carry the day in this entertaining production.

Neil Litchfield

Photographer: Alan Roy.