Into The Woods

One of the joys of reviewing good community theatre is the exhilaration of seeing companies with miniscule budgets present full blown multi million dollar musicals, and sharing the passion that they imbue each show with.

Into the Woods is a difficult show, but innovative direction and excellent casting has made this new production from Fab Nobs an absolute triumph. True, it ran longer than it should have (almost 3 hours) and there were some glitches with the set and props on opening night, and the odd fluffed line with opening night nerves; but these pale into insignificance compared to all the marvellous moments and truly fine performances on offer.

If you have never been to Fab Nobs (and if not – why not?) the set-up is tables and chairs and you can buy wine and beers and even supper platters, it’s very civilised. The stage is neither wide nor especially deep, but somehow this company wrings every ounce of playable space out of the theatre. Nick Kong, himself a skilled performer, is growing in stature as a director with every new show (this time he has Emma Hall as his co-Director, since he is appearing in Anything Goes). He has also designed the multi levelled set and for the most part it works brilliantly. Innovative touches like the shadow screen for the talking birds, the green rope and plank ladder for the beanstalk, the swing gate part flat to denote Rapunzel’s tower, the milky white cow on castors with a suitcase handle, the flash cans for magic, the coloured lighting panels on the scrim for scene changes – all of these creative choices dictated by lack of money to throw at the production, only served to make it more satisfying.

There are no weaknesses in a stellar cast of Community Theatre artists, and voices are strong throughout. They really need to be for Sondheim’s difficult score.  Elizabeth Matjacic was born to play the Witch and is quite marvellous, certainly the best I have seen in Australia. That glorious voice soars in “The Last Midnight” and reduced me to tears in “Children will Listen”. And only a week before, she was treading the Boards as Miss Adelaide in Guys and Dolls. She is a huge asset in every show. Stephanie James is just fabulous as Red Riding Hood (if only she had been in the Movie!). I last saw her as Wednesday Addams for PLOS (The Addams Family). She’s a true triple threat with a great voice and a marvellous sense of comic timing. She is perfectly matched by Owen James as Jack. This young performer has an infectious grin, a cheeky personality and loads of energy. They are brilliant together. The two princes (Douglas Costello and Curtis Mason) also double as the ugly sisters and Cinderella’s Prince (Costello) also plays the Wolf. They are wonderfully over the top and high camp and have a great sense of Burlesque. The show stopping “Agony” loses nothing from being in a confined space and their steel jawed melodramatic posturing is hysterical.

As the Baker, Peter Garrett (no, not that one) is endearing and likeable but perhaps owes too much of his performance to James Corden’s interpretation for the film, rather than The Baker as Sondheim originally conceived him. Kat Elliott gives a skilled performance as his wife, full of nuances. Rachel Conway is delightful as Cinderella, and Colin Morley as the Steward (and sometime horse for the prince) / Cinderella’s father grabs more than his fair share of the laughs. Bernadette Sheedy brings brittle authority to the nasty Stepmother (Boo, Hiss) and Jacqueline Levitas brings her glorious vocal chops to Rapunzel and Cinderella’s mother. Rebecca Gooley (Jack’s Mother) has terrific stage presence and great diction throughout (in fact I understood every single word of the show for the first time ever) and Katie-Jane Kinsella doubled splendidly as Granny and the giant…and kudos for the physical presence of the Giant…it was a great touch. Dean Snook (Narrator/Baker’s Father) did have a few fluffed lines on opening night but I’m sure they are well behind him already and there’s no questioning his authority and command of the stage.

Musical Director Sally Mackenzie  handled her orchestra with aplomb….though there were some moments when the violin was just a tad sharp. Vanessa Burke’s lighting design was excellent throughout. All in all this is a highly ambitious production that makes delightful entertainment thanks to the commitment and passion of all at Fab Nobs.

Coral Drouyn

Photographer: John Milkins