Into The Woods - May 2009
‘Into the Woods’ first opened at the Martin Beck Theatre New York in November 1987 where it ran for 764 performances, and then at the Phoenix Theatre London where it had a short run of 186 performances.
Sonhdeim’s music is considered to be some of the most challenging both for musicians and singers, not to mention the audience! Possibly the majority of them know what to expect but for the novice --- it’s a baptism of fire. I did know what to expect but was still surprised afresh, that until well into show there wasn’t a tune that was predictable or melodic. I appreciate that for the Sondheim ‘afficionados’ that is part of the charm, for the rest of us it can make uneasy listening.
Having said that I have to congratulate the company on a stunning production with which it was difficult to find fault. Samantha Clark’s direction was sound and she had worked well with her talented cast to achieve commendable results.
There were many new faces on stage, which is always good for a society, and I hope they will continue to support WAOS.
Mike Thacker’s set was very good indeed, the well-painted woods were suitably creepy, and the three naively painted flats were perfect for the opening section. .
Alex Parker is obviously an extremely experienced musician despite his lack of years and the musical part of the production was superb. There was the odd occasion when the music overpowered the singers, notably the opening of Act Two, but overall the orchestra was well controlled.
Ben Lawson and Catharine Hunmphrys made a strong pairing as the Baker and his Wife and I particularly enjoyed ‘It Takes Two’. In amongst the discordant music were some wonderfully comic moments. She could however have looked a little more terrified of the giant.
It was the second time I had seen Gillian Freeman play Jack’s Mother and she was once again very good in the role.
As her son Jack, Elliot Griffiths was suitably awkward but handled the ‘cow’ expertly so that despite it’s rather unusual appearance it strangely became believable.
Cinderella transformed easily into the princess, her singing was good as was her diction, and Sue Sampson gave a good performance as her wicked stepmother.
The cruel Florinda and Lucinda, played convincingly by Anna Marsh and Ellie Ulrich, enjoyed any opportunity to make Cinderella feel inferior, but once they had been blinded they were not convincing enough, using their white sticks more like props and less like an essential aid.
Hayli Chappell was fetching as little Red Riding Hood but also had the necessary ‘attitude’ for the role, and her singing was good. The scene with the wolf posing as Grandma was well presented.
As the Wolf, Stuart Flitton was fine but because of his mask it was difficult to hear his dialogue.
The star of the show was undoubtedly Jenny Moon in the role of The Witch. Her diction and projection were first rate and her singing was also praiseworthy. She was evil and scary as the witch and then amazingly transformed into the glamorous mother of Rapunzel.
Playing Rapunzel Laura Sillet sang beautifully.
Another excellent performance was from Jake Wallis, playing the Prince. He put lots of drama into his part and was most amusing.
Anthony Batchelor as Rapunzel’s Prince was a good foil for him, and together they brought out much of the comedy in the production. I loved their number ‘Agony’, which I thought one of the best in the show.
Playing the Mysterious Man, Martin Sampson gave an assured performance and as the Narrator, Clive Moon was ideal.
The second act was faster moving and the music was more easily appreciated. I particularly enjoyed ‘No-One is Alone’ and of course the reprise of ‘Agony’.
There were absolutely no weak links and any characters not covered in this report should be aware that they too contributed to the splendidly polished production, which I’m sure was enjoyed by everyone who saw it.
Sound was good as was the lighting apart from one late cue for Cinderella
The show finished on a high with an excellent finale.
Your programme is as always nicely put together and contains plenty of information.
Front of House helpers didn’t appear as organised as previously, and the casual polo shirts did not look smart enough to meet and seat people for an evening performance in a theatre. Maybe it was an attempt to appear more modern but the effect was to diminish the high standard of the production.
Another negative aspect which I feel obliged to mention was that the Musical Director stood around in the orchestra pit before the show, eating something from a packet as he leaned against the pit wall. I know he is only seventeen years old but he surely acknowledges how important it is to appear professional in front of an audience.
Those two points aside---- Well done!
I look forward to seeing ‘Blitz’ in the autumn especially as it’s one of my favourite shows.
E. Gloria Smith
NODA Representative – District 12
Sonhdeim’s music is considered to be some of the most challenging both for musicians and singers, not to mention the audience! Possibly the majority of them know what to expect but for the novice --- it’s a baptism of fire. I did know what to expect but was still surprised afresh, that until well into show there wasn’t a tune that was predictable or melodic. I appreciate that for the Sondheim ‘afficionados’ that is part of the charm, for the rest of us it can make uneasy listening.
Having said that I have to congratulate the company on a stunning production with which it was difficult to find fault. Samantha Clark’s direction was sound and she had worked well with her talented cast to achieve commendable results.
There were many new faces on stage, which is always good for a society, and I hope they will continue to support WAOS.
Mike Thacker’s set was very good indeed, the well-painted woods were suitably creepy, and the three naively painted flats were perfect for the opening section. .
Alex Parker is obviously an extremely experienced musician despite his lack of years and the musical part of the production was superb. There was the odd occasion when the music overpowered the singers, notably the opening of Act Two, but overall the orchestra was well controlled.
Ben Lawson and Catharine Hunmphrys made a strong pairing as the Baker and his Wife and I particularly enjoyed ‘It Takes Two’. In amongst the discordant music were some wonderfully comic moments. She could however have looked a little more terrified of the giant.
It was the second time I had seen Gillian Freeman play Jack’s Mother and she was once again very good in the role.
As her son Jack, Elliot Griffiths was suitably awkward but handled the ‘cow’ expertly so that despite it’s rather unusual appearance it strangely became believable.
Cinderella transformed easily into the princess, her singing was good as was her diction, and Sue Sampson gave a good performance as her wicked stepmother.
The cruel Florinda and Lucinda, played convincingly by Anna Marsh and Ellie Ulrich, enjoyed any opportunity to make Cinderella feel inferior, but once they had been blinded they were not convincing enough, using their white sticks more like props and less like an essential aid.
Hayli Chappell was fetching as little Red Riding Hood but also had the necessary ‘attitude’ for the role, and her singing was good. The scene with the wolf posing as Grandma was well presented.
As the Wolf, Stuart Flitton was fine but because of his mask it was difficult to hear his dialogue.
The star of the show was undoubtedly Jenny Moon in the role of The Witch. Her diction and projection were first rate and her singing was also praiseworthy. She was evil and scary as the witch and then amazingly transformed into the glamorous mother of Rapunzel.
Playing Rapunzel Laura Sillet sang beautifully.
Another excellent performance was from Jake Wallis, playing the Prince. He put lots of drama into his part and was most amusing.
Anthony Batchelor as Rapunzel’s Prince was a good foil for him, and together they brought out much of the comedy in the production. I loved their number ‘Agony’, which I thought one of the best in the show.
Playing the Mysterious Man, Martin Sampson gave an assured performance and as the Narrator, Clive Moon was ideal.
The second act was faster moving and the music was more easily appreciated. I particularly enjoyed ‘No-One is Alone’ and of course the reprise of ‘Agony’.
There were absolutely no weak links and any characters not covered in this report should be aware that they too contributed to the splendidly polished production, which I’m sure was enjoyed by everyone who saw it.
Sound was good as was the lighting apart from one late cue for Cinderella
The show finished on a high with an excellent finale.
Your programme is as always nicely put together and contains plenty of information.
Front of House helpers didn’t appear as organised as previously, and the casual polo shirts did not look smart enough to meet and seat people for an evening performance in a theatre. Maybe it was an attempt to appear more modern but the effect was to diminish the high standard of the production.
Another negative aspect which I feel obliged to mention was that the Musical Director stood around in the orchestra pit before the show, eating something from a packet as he leaned against the pit wall. I know he is only seventeen years old but he surely acknowledges how important it is to appear professional in front of an audience.
Those two points aside---- Well done!
I look forward to seeing ‘Blitz’ in the autumn especially as it’s one of my favourite shows.
E. Gloria Smith
NODA Representative – District 12
