Once upon a time, in a faraway kingdom, there was a convoluted
interweaving of classic Brothers Grimm fairytales into a musical. This is
of course Sondheim and Lapine’s Into the Woods, which remains widely
performed and celebrated.
The gist of this fantastical tale is that, “Happily Ever After”’ ends only
the first act. It seems that every one is “so happy”. Cinderella and
Rapunzel get princes; the witch her beauty; Jack money and his cow back;
Little Red Riding Hood a wolf skin cloak; Granny a renewal of life and the
new characters of baker and his wife resolve the curse that has left them
childless and are now expecting. Yet beyond that lasting happiness lies,
the continuing reality of each character’s everyday lives. The most
destructive extension is that of the Giant’s wife who is seeking revenge
for the murder of her husband. As the others scramble to evade her
footsteps, in true moralistic fairytale tradition we are taught that all
actions have consequences. Fortunately this message is received through a
most enjoyable show!
Indeed the program synopsis ends with the warning “[be] careful of the
legacy we leave, the tales we teach, and an awareness that no matter what
battles we fight or whose side we’re on, all actions have consequences.”
This is certainly true; however the writer and composer of Into the Woods
are far too clever to browbeat the audience, the number of laughs
outweighing the rueful nods.
Director, Scott Dunsdon’s production of Into the Woods demonstrated both
the creative diversity and artistic vision of The University of Melbourne
Musical Theatre Association (UMMTA). Starting with the wonderful show
itself he has presided over a magical piece of theatre.
Set designer Robert Smith (MUSC Macbeth 2008) provided instant visual
impact with his inspired set design. His aesthetic not only grounded the
piece in a minimalist fairytale world but coupled with Zach Oates
evocative lighting, gave an eerie, yet familiar feel to the woods. The
layered panels of painted canvas that formed the woods were silhouetted
not only with trees and branches but also a typewriter script that alluded
to the literary origins of the characters. Being able to make out the live
orchestra through the panels was also a very refreshing concept that
complemented both the sound and style of the piece.
Performing within the stylised space was an exceptionally talented cast.
This was apparent not only in the voices of the ensemble but also in the
dedication demonstrated in the portrayal of their characters. In such a
performance, singling out particular cast members (apart from Milky White
the cow!) is very difficult. In a musical, such contributions from all the
cast are ideal and it reinforced the high production values of this show.
Once upon a Wednesday evening a girl in a grey coat wandered into the
theatre. She spent a couple of hours discovering the wonders of the woods,
departed with music wafting through her head and a new appreciation of the
importance of fairytale and the mirror it can hold up against our
contemporary culture. “I Wish.”
Review by Mathilda Lunken
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Posted Monday 18 May, 2009. Updated Monday 18 May, 2009.
