The energy is high, the voices are bright, and the stories are as memorable as where they originate from. UCF’s Spring production of Stephen Sondheim’s “Into the Woods” brings together some of the most beloved Grimm’s fairy tales (“Cinderella”, “Rapunzel”, “Red Riding Hood”) along with other well-known children’s stories (“Jack and the Beanstalk” and a twist on “Thumbelina”) to create a story of love and hardship that ultimately addresses morality and questions of responsibility.
The play opens with a hearty “Once upon a time!” from the Narrator (Trevin Cooper) who stands as a living footnote throughout the performance. He narrates the story of Jack (Benjamin Smith), Cinderella (Lauren Butler), Little Red Riding Hood (Julie Frost), and the Baker (Josh Wise) and his Wife (Kelly Kilgore): Jack and his mother are poor and need to sell their cow, Milky White; Cinderella is abused by her step-mother (Veronica Horta) and step-sisters, Lucinda (Rebecca Galarza) and Florinda (Lindsay Clemmons), and longs to go to the ball; Red Riding Hood is on a journey to see her grandmother (Rachel Schimenti); the Baker and his Wife are childless and long for a baby to enter their lives. Each character is in the process of at least attempting to complete their own missions, when the Witch (Vicky DiSanto) interrupts the first song to explain the reason why the Baker has no children; she placed a curse upon his father and mother after his father stole the Witch’s beans and vowed that his family tree “would always be a barren one.” She tells him that in order to remove the curse they must attain a cow as white as milk, a cape as red as blood, a slipper as pure as gold, and hair as yellow as corn. Thus begins each character’s journey into the woods: Jack to sell Milky White; Cinderella to see her mother (Danielle Barnes); Little Red to see her grandmother; and the Baker and his Wife to find their objects. A chase ensues between the couple and each of the other travelers. As the chaos ensues, Jack sells Milky White for five “magic” beans; Little Red is led astray by the Wolf (Joshian Morales) and eaten along with her grandmother, only to be saved by the Baker; Cinderella is being chased by her prince (David Paul Kidder); and the Baker and his Wife only possess two of the four things they require. While all this is happening, Jack has felled a giant in his backyard; he has stolen a harp and a hen that lays golden eggs. Eventually the Baker and his Wife acquire their items and give them to the witch. She mixes them together (with the help of Milky White), and drinks the brew. The result is regaining her former beauty, but losing her powers. Milky White is given back to Jack; Cinderella is found by her prince and married to him; and Little Red now possesses a new, fur cape instead of her old red one. The Baker and His wife are assumed to be expecting a child soon; all seems to be going according to plan at the end of the first act, but as the second act approaches, we see that not every character is happy with the situations they find themselves in. Cinderella must face a cheating husband; the Baker and his Wife and their child need a larger home; and Jack is running from the Wife of the angry giant (Kristin Shoffner).
There are almost too many characters to keep up with, but when you stop and take a moment (which is rarely given to catch one’s breath) and think about the story, it’s not all that convoluted. The beauty of Sondheim’s musical is that each character’s story is interrelated, and there are no gaps of information. It also represents the message that director Kate Ingram is trying to get across: that each human being is connected through the human condition and our dependence on nature. She explains in her director’s note that the woods are where humans find themselves, and if our forests are depleted by “a sense of greed and entitlement,” humans will lose connection with one another as well as with the earth.
Ingram’s vision is equally represented in the set design by Vandy Wood, which consists of a solid foundation and airy-like draperies made of thin and transparent fabric. The entire production possesses an organic quality; scenes are easily transitioned between with the use of portable frames with the fabric attached (these are carried by puppeteers). The lighting, designed by Bert Scott, provides appropriate atmospheres for each scene, whether it requires an eerie, mystical, or peaceful ambiance. The orchestra is almost visible behind the scrim at the rear of the stage, but is not distracting in the least, and the costumes are unique for each character; though the only flaw mentionable would be their striking resemblance to the clothing worn in most of Disney’s fairy tale-based movies. If an organic theme is going to be carried through the show, its costumes styles should complement and not compete with the separate style of the set.
Particularly enjoyable numbers were the “Opening,” ; it grabs the attention of the audience from the first robust word, courtesy of Cooper. “Our Little World,” though wordless, includes harmonies between Noelle Sundrene Adderton (who plays Rapunzel) and DiSanto ; these are captivating, and it’s a shame that Rapunzel does not appear more heartily in the within the musical numbers. “Agony” and “Agony Reprise” are pleasant releases from watching the breathless confusion of the other characters. These numbers, and their artists, Kidder and Mickey Bahr (who plays Rapunzel’s Prince) have perfect comedic timing, and portray the princes as the plastic, haughty, and clueless men they are. (In addition to their vocal abilities, Kidder and Bahr’s physicality is humorous, as they add extra hops, leaps, and bounds to their gaits.) “No One Is Alone” brings tears to the eyes as two sets of characters console each other before slaying Shoffner’s Giant. “Moments In the Woods” stands as Kilgore’s only true solo number, and is absolutely beautiful. Her voice is fit for the music, and her portrayal of the Baker’s Wife brings sympathy and humor to the role. The only number that stood alone as a less than stellar was “Hello Little Girl”; however, it was not because of Morale’s voice. On the contrary, his voice was suited well for the role and his physicality was…appropriate for a lascivious wolf preying on a little girl. His mask was the real issue, for it muffled his voice and made him sound out of breath.
Many other aspects of the show draw the audience in further and further “into the woods” with the cast. The use of shadow puppetry in the Little Red rescue scene enhances the story and introduces another aspect of childhood into the show. The interactions between Little Red and other characters are bold and entertaining; there are numerous bits in the show that provide plenty of comic relief. Galarza’s Lucinda is comical with her nearly-insane reactions to Cinderella. Smith plays an endearing and loveable Jack, who begs audience sympathy even though his character is as dull-witted as his cow.
Overall, UCF Conservatory Theatre’s production of “Into the Woods” presents a children’s story for adults that addresses issues of responsibility, right, and wrong, while keeping the simplicity of the original stories. A must-see, “Into the Woods” is a memorable trip into the hearts of Sondheim’s characters; each of them possess love, compassion, anger, fear, and hope, feelings with which each audience member can identify and be connected by.
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