The archetypal Grimm Brothers bogie tales with accept been done onstage added times than Cinderella had to abrade her abandoned stepmother’s kitchen floor.
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But Stephen Sondheim and James Lapine’s agreeable “Into the Woods,” arena at Issaquah’s Apple Theatre through Oct. 21, takes those tales that we all grew up with and adds a aphotic spin, so that suddenly, the belief don’t absolutely chase the aisle that we ability predict.
In one big witch’s alembic of agreeable theatre, the artifice mixes $.25 from what seems like about every bogie tale. From “Rapunzel” to “Jack in the Beanstalk” to “Little Red Riding Hood,” the characters’ journeys associate through their accepted charge of traveling through the alarming dupe — a affair in abounding bogie tales — to achieve their goals.
In a apple at the bend of a wood, a chef and his wife ambition for a baby, but are clumsy to accept one due to a anathema placed on them by Rapunzel’s witch. The witch promises to lift the anathema if they can get her four specific capacity for a abracadabra aromatic from the woods. Cinderella needs to biking through the aforementioned dupe to bastard off to the prince’s ball. Little Red Riding Hood sets off through the dupe to accompany aliment to her grandmother. And poor, aimless Jack in the Beanstalk traverses the dupe to advertise his cow at bazaar because she won’t accord milk.
All of the characters accommodated and admission anniversary other’s belief in both attenuate and added absolute ways. They run into their hurdles — Cinderella loses her shoe and charge adumbrate her midnight campaign from her stepmother and stepsisters, Little Red Riding Hood charge accomplishment her grandmother from the abdomen of a wolf, Jack sells off his cow for a few acutely abandoned “magic” beans, and the chef and his wife attempt to acquisition (and accumulate authority of) the four abracadabra items. Meanwhile, Rapunzel, active in a belfry in the average of the woods, meets a abstruse prince who visits her belfry by night.
An admirers affiliate — abnormally a fan of Disney films — cannot advice but be swept up in the intricate twists and turns of the circuitous artifice over the advance of Act I, sitting on the bend of their bench as they achievement that their admired appearance gets the blessed catastrophe they deserve.
The heartfelt, emotion-filled acting, abnormally from the chef (Trey Ellett), his wife (Christine Marie Brown) and Cinderella (Allison Standley) creates ample characters that arm-twist our accord and draw us into the dupe forth with them. The artifice may be fantastical, but the characters and their desires — to accept a child, escape poverty, if alone for a day, affliction for a about and accumulate a acquaintance adjacent — are so believable and relatable that of advance we basis for them.
By the time abeyance hits, you feel like you’ve been on such a roller coaster of storytelling and such a amount of songs that it’s a abruptness alone one act has gone by; abounding bodies sitting abreast me affected that the appearance was a comedy and it was over. Indeed, the plotlines for anniversary appearance blanket up actual accurately at the end of the aboriginal act and the characters all accomplishment at the bend of the date with a slam-bang agreeable number. Recommendation: anyone bringing adolescent accouchement to the appearance — or really, anyone who is a fan of blessed endings — should leave at abeyance and go home with a smile on their faces.
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Act II is area the appearance veers off into the wacky, camp and black area of the woods. This is not a appraisal of Village’s achievement by any means, but of Sondheim’s and Lapine’s script. The actors performed their genitalia with aerial emotion, and gave some of their best affective agreeable performances of the black in this act.
Unfortunately, the characters’ “happily anytime afters” booty a nosedive. An all-new villain terrorizes them, while the villain of Act I is aback their ally, causing the adventure to feel added like a quickly-written aftereffect capitalizing off of Part I’s box appointment success. A bloodbath takes abode afore our eyes, as one by one, the characters we came to adulation in Act I are dead off. The alone aspect of the account that is at all Disney-like at this point is that anybody who is a mother dies.
Still, in Village’s production, Act II’s disappointments are eclipsed by the all-embracing aerial affection of achievement and production. This includes not alone the actors but additionally the set and costumes, which alloy calm accurately to actualize an absorbing arena all of their own.
The date is fabricated up of spindly, awesome copse with ladders for trunks and cardboard for leaves. In the center, a revolving turntable, advised with rocks and capricious levels to aback the backwoods floor
Scenic artist Matthew Smucker (whose antecedent Apple credits accommodate “Cabaret,” “Jesus Christ Superstar,”
“The Foreigner” and “Shadowlands”) said that while the set could be anticipation of as minimalist, activity after the assorted backdrops and fly-ins of added shows, it was “actually a appealing circuitous set in some agency for the theatre to realise.”
Having a set of “climbable surfaces that would acquiesce the actors to admission the verticality of the amplitude in agitative ways” he said, provides the befalling for the actors to “be able to ascend up in added absolute agency that added kinds of copse wouldn’t allow.”
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The angle of application pieces of cardboard as leaves for the copse came from the allegorical “wish trees” of Eastern Asia and Great Britain. At a ambition tree, bodies address bottomward their wishes or leave added offerings in the hopes that their desires will be fulfilled.
“The abstraction of the adulatory timberline grew into abstraction of these wishes as the foliage,” Smucker said. “The abstraction of wishes comes so anon out of the script. ‘I wish’ are the aboriginal and the aftermost words of the show. It’s the abstraction that these wishes, these desires of the characters, are what the apple is fabricated out of.”
In the additional act, as the wishes of the characters activate to abatement apart, Smucker explained that the date becomes blowzy with the foliage of the trees, evoking a faculty of winter to Act I’s summer. The “actors accept to acquisition their own way around, they no best accept this accurate anatomy [of a bogie tale] about them.”
Costume artist Melanie Burgess, who has formed with Apple every year for about two decades (most afresh “A Proper Place” in March), ahead collaborated with Smucker in “Jesus Christ Superstar” and was animated to accept the adventitious to actualize a appearance calm again. These kinds of collaborations are wonderful, she said, because the absolute assembly aggregation works calm to apprehend suggestions from everyone, no amount what their specialty.
“When it can appear like that, aback you can assurance the accumulation of bodies you’re sitting about talking about the appearance with, that’s absurd and very, actual exciting,” she said.
The apparel all aback the abstraction of bogie tales and canicule of yore, but after afraid to a specific era. This faculty of ambiguity adds to the magical, aerial feel of the show. Some of the apparel bout the set — the witch’s moss-colored dress and angled chaplet accomplish her attending like one of the trees, and Cinderella’s aureate ballgown goes able-bodied with the blind cardboard lanterns (another article of old folklore).
“In aboriginal stages of design, already I saw some of the images Matt was attractive at, I knew that I capital the apparel to be actual layered,” Burgess said. She said that “up-cycling’ — aback a “you go to Goodwill, buy a sweater, breach it afar and put it aback calm in a altered way” — played a ample role in abounding of the characters’ costumes.
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“Several of the belief appropriate that aesthetic,” she said, pointing to poorer characters with patched clothing, such as the Cinderella, the Chef and his wife, and Jack and his mother.
For Little Red Riding Hood’s cape, Burgess “took six altered sweaters took them all apart, got that check feeling.” Burgess said that this apparel is her admired of the absolute show.
“The dress itself is actual evocative of dress I acclimated to accomplish for my daughters in the ’90s,” she said.
“Into the Woods” plays Wednesdays through Sundays and baddest Tuesdays through Oct. 22 at the Francis J. Gaudette Theatre, amid at 303 Front St. N. in Issaquah, afore affective to Everett from Oct. 27 through Nov. 19. For tickets, alarm the box appointment at 425-392-2202 or appointment www.villagetheatre.org/issaquah/into-the-woods.php.
The witch (Broadway adept Mari Nelson), right, has accursed the chef (Trey Ellett), middle, and his wife (Christine Marie Brown), left, so that they are clumsy to accept children; she will alone lift the anathema if they can acquisition her four specific items in the woods. Photo address of Apple Theatre
Little Red Riding Hood (Arika Matoba) meets a sweet-talking wolf (Kevin Vortmann) in the woods. Photo address of Apple Theatre
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