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Into the Woods
Bruce R. Coleman's production of Into The Woods is by far the most original, unique, and innovative interpretation of Stephen Sondheim and James Lapine's musical that I have ever observed. Bruce R. Coleman is a director who brings a very specific artistic technique and approach to his productions that illuminate his own special stamp of approval. You sense that he strips away all the layers surrounding the original purpose and meaning of the piece, and from there he applies new layers of subtext and meaning, giving the piece a whole new glossy version, but in the process not hurting the creator's original meaning, but in fact embellishing it. For Into the Woods, Coleman uses his dazzling artistic brush to paint bold strokes of rich colored hues in the comedy as well as the darker emotions and subtext of Sondheim's lyrics and music and James Lapine's book. Coleman's staging and blocking brings out the subtext of the piece with a more secured understanding and meaning, which was lacking in some of the previous versions I have seen. The window pictures of his staging are multi-layered, not only giving the audience visual images of beauty and non-verbal emotion, but also giving the actors a stronger grasp on the material. Into The Woods is a lengthy piece, but you just don't notice this with the perfection of pace that Coleman has put his actors on. He gets the exposition flowing at organic speed, pushing the piece to get to its emotional arcs and core, thereby allowing the actors to have their moments in a more relaxed, naturalistic atmosphere. When the original production opened in 1987, the first wave of AIDS was ravaging not only the Broadway community, but theater families all over the world. Critics and observers wrote that the Giant's Wife in Into the Woods represented AIDS and she killed whatever stood in her way, thus the lyrics to "Children Will Listen" and "Last Midnight" are more haunting and emotional. Coleman has placed in the second act some subtle references to this concept. The Baker's Wife has a red scarf, Jack wears a red vest, the witch has a red hat with ribbons of red dangling from her arms. I don't know if this was by accident or not, but when the Baker's Wife wraps her head in the red scarf after her second act solo, it is a haunting foreshadowing of what is about to happen. Just sublime subtext here. This director also happens to be the designer of both the costumes and sets for this musical - the man is a one stop theater factory. Coleman's set design is a two tier structure with ramps on either side, painted in dark hues of evergreen and forest green. Surrounding are tall trees with intricate leaf patterns. There are also two wagons covered in fabrics and ribbons that are used in various forms throughout the evening. As for the costumes, they are fantastic, original, and delightful creations. Apparently Coleman raided various fabric stores to bring to life his array of colorful visual costuming. There are dozens of patterns and materials which create layers of costume for each character with a bounty of color and design in each. Every creation is unique, but also, the costumes provide information and subtext for the actors. Coleman does not allow some of the physical and technical elements of Into the Woods to hinder him from creating theatrical magic. The use of four ensemble members to manipulate and create life in the various puppets and birds, or to be the doors for characters to walk into is innovative and clever. The musical begins with the company resembling a traveling theater troupe sitting in the forest waiting to be paid by the narrator. A small girl observes and the cast presents their show to her. We hear the strains of the opening number, "Once upon a time, in a far off kingdom ..." This combination of presenting the story to the little girl and the use of the foursome is just marvelous. It brings out the lyrics in new ways that add an emotional wallop that was not there before. The only design element that is slightly anticlimactic is the Giant's Wife. The use of a tall puppet far upstage with a lighting instrument behind it is not visually frightening enough. This is not helped with the weak, non-threatening voice that is used by the character. But this is a minor flaw. Kudos must also be bestowed on Maestro Ricky Pope and his superb orchestra. The music coming from the pit is lush, grand, soothing, and majestic. Pope's musical direction is pure polished professionalism, never overpowering the cast nor losing its tempo and pace with the action unfolding on stage. Pope's use of various instruments to create sound effects is added fun, such as the use of massive drums for the Giant's Wife's walk, which sounds very chilling. Sondheim can become loquacious with some of his lyrics in creating a barrage of never ending words and phrases, but this cast clips and pronounces them with crystal clean diction. Therefore, many of the jokes within the lyrics are heard and achieve laughs. Pope allows his actors to have dramatic pauses within the score that bring even more emotional impact to the scene. Bravo! Mike Garner's lighting is a wonderful complement to Coleman's creations on stage. However, throughout the evening there seem to be dark patches on the stage, or ribbons of darkness across the faces of some performers. Also, there is a sporadic delay in bringing up the lights on various scenes or actors, thus there are dark shadows washing out the faces of the performers. Nonetheless, Garner does use an assortment of color to create the perfect fairy tale atmosphere. Cathy Parks Bardin as Cinderella truly does her finest work in this production. Never having seen this actress in a serious role before, it is like a new and wonderful surprise to see her explore and display her acting craft in a whole new light. Bardin shows honest compassion and pain as a woman who is trying to find love and happiness. Her soprano voice has no problems with the soaring notes Sondheim has written for the character; instead Bardin glides vocally with finesse. Her act two scene with The Prince (Regis Allison) is heartbreaking to watch. Doug Miller continues to amaze me, but here he surpasses his previous efforts. Miller gives a brave and raw emotional performance as the Baker. I have always felt the Baker needed to let his heart crack open on the solo, "No More." Miller rips open this character's soul and lets you feel his sorrow when he sings this song. Standing center stage with tears in his eyes, you can feel and understand the lyrics of this ballad - thanks to Miller's simplistic, yet moving rendition of this ballad. Miller conveys honest growth and maturity with this role. As the Witch, Marisa Diotalevi is a combo platter of Carole Lombard, Faye Dunaway as Joan Crawford, and Cruella De Vil all rolled into one. Diotalevi has an earthy soprano sound to her voice, which gives the songs written for the Witch a more natural tone and quality. Diotalevi and Stephanie Hall as Rapunzel singing in the duet "Our Little World" (not in the original New York production, but Sondheim wrote it for the London version and it is included in the current revival on Broadway) is just heavenly to hear. Diotalevi creates loud laughs with the comedy written before her as well, but in the darker tones of the character, she stretches a dramatic technique that has not been explored, as she usually tends to do comedy. We all know this actress as one of the top comic actresses in our metroplex, but Diotalevi gives the witch a more somber, natural, organic approach that works beautifully. The pain of losing her daughter is more internal sorrow, which turns into seething anger. I have always felt that the role of Jack's mother was weakly written - even though she has great impact in the second act, the character in fact has no major solo. Lisa Anne Haram gives this role all she has and in return delivers a side splitting performance. She combines her face, body, comic timing and pace to create laughter throughout her journey in the woods. Newcomer Greg Whitmore delivers a charismatic comedic performance as Rapunzel's Prince. The actor has a honey-soaked tenor voice that is pure pleasure to hear. Whitmore understands the comic subtext as well as the lyrics of his duet, "Agony," (with Regis Allison) to generate loud guffaws from the audience. The duet is one of the best numbers of the evening. Also delivering outstanding performances in this already top notch cast are Scott Bardin as the Narrator, Sergio Antonio Garcia as Jack, Stephanie Hall as Rapunzel, and Elise Perea as the Stepmother. The role of the Steward is a minor one with no solo songs, but this does not keep Andy Baldwin from delivering a scene stealing rollicking performance. The actor turns this royal family attendant into a dandy, vain, and affected comic character. From the RuPaul-like posture to his garish makeup, Baldwin is a basket of laughs. When was the last time you have seen a minor character get applause after his exit? Baldwin does just that, and rightfully earns it. Jay Williams, J.T. McClure, Amber Allen, and Josh McCalip are the four unsung heroes of the evening. These four create the life, voice, and energy for the various puppets, birds, baby sounds, as well as becoming screens, doors, walls, etc. throughout the evening. They may not have lines or solos, but they are the backbone of this production and make it original and refreshing! This leaves what I consider the two best performances of the evening: Arianna Movassaugh as the Baker's Wife and Regis Allison as Cinderella's Prince/Wolf. I saw Ms. Movassagh give a hilarious performance earlier this season in I Hate Hamlet, but as the Baker's Wife, she has stolen my heart. This role was originated by Joanna Gleason on Broadway, and since then I had yet to see an actress equal or get near Gleason's performance. Movassaugh does not try at all to imitate Gleason; instead she has created her own interpretation of this woman who wants a child very badly. Movassagh is phenomenal and astonishing. She lets the comedy come out by accident, in a natural, unforced delivery. Her duets "It Takes Two" with Miller and "Any Moment" with Allison, and her major solo, "Moments in the Woods," are all glittery gems of comedic splendor. Yet its the sympathetic, though intense, vulnerability radiating from her acting and facial expressions that is extraordinary to watch. Regis Allison portrays the double roles of Cinderella's Prince and the hairy Wolf. First, Allison delivers a jaw-dropping, eye-popping, double whiz-bang, firecracker performance in both roles. For the Wolf, he creates two voices. One is a dark, growling, evil, and even slightly erotic bass voice. Then, in his farcical version of "Hello, Little Girl," which he sings to Little Red Riding Hood, you hear from underneath the wolf's mask a gorgeous, clean, tenor vocal. Allison slithers, gyrates, and thrusts his hips to give the wolf the aura of a horny creature. Coleman's costume creation for Allison adds to the mystique of this erotic wolf, right down to the fur covered codpiece. Allison returns for the remainder of the evening as Cinderella's Prince, and here again he is totally amazing with his consummate work as an actor and singer. He creates hysterical facial expressions that draw the loudest laughs of the evening and also uses his body and posture to perfection in achieving laughter. Allison's suave characterization of the spoiled Prince is a synthesis of Errol Flynn, Douglas Fairbanks Jr., Kevin Kline and Dudley Doright. There is a hilarious sequence with Allison that involves a slipper, a wooden horse, and his distaste for blood. His duet with Whitmore on "Agony" is a grand, facetious number for his extraordinary comedic timing, pace, and delivery which is used to full tilt. This is a flawless, impeccable performance in not one, but two roles, making each its own full fleshed out characterization. That's talent! There is one major problem with this production - the body mikes. Throughout the evening the mikes are brought up too late or too early. The balance of the various mikes on stage creates awful sounds when actors get close to each other, and you can hear a blowing wind sound when an actor starts to run - and in this musical there's a lot of that. This is not aided by some mikes being brought out to full volume, making the smallest movement result in a loud, unexplained sound on stage. These problems I'm sure will be cleared in subsequent performances. ICT Mainstage's production of Into The Woods is obvious a truly professional production. Director Coleman and his company have created a magical, enchanting, and glorious version of this musical. Believe me when I say that you will want to take a journey with this company through those woods. Into the Woods will run Fri & Sat, July 26, 27, August 2, 3, 9, 10, 2002, at 8 pm Thurs August 8 at 8 pm Sun. July 28 & August 4 at 2:30 pm. Dupree Theater, Irving Arts Center 3333 N. MacArthur Blvd. Box Office: 972/ 252-2787 Tickets: Thurs $8 & $10, Fri - Sun $12 & $14 Into the Woods Director.............................Bruce R. Coleman Cast Children.............................Zoe Bardin, Laurel Khaleel |
