Stephen Sondheim and James Lapine's Into the Woods Might Be Too Much of a Good Thing for Some Young Theatergoers
This article was published by Triangle Review on 8 October 2022.
As the sun set and the odd bat or two flew across the clearing above the historic Forest Hills (outdoor amphi-) Theatre in Chapel Hill, NC, it was clear that director Melissa S. Craib Dombrowski and the folks at Stone Soup Theatre Co had chosen the perfect venue for their production of Into the Woods, Stephen Sondheim's 1987 Broadway and 1990 West End musical, with a book by James Lapine. My 12-year-old son was not the youngest one there, as people picnicked around us, waiting for the show to begin.
When the turquoise-blue columns of light illuminating the stony back wall of the stage nearly matched the intensity of the waning sky, Cinderella (played by Nora Burgard) appears at the grave of her mother. Next, we see Little Red Riding Hood (Rosie Rust) in lively conversation with the charismatic Wolf (played by Zachary Cook).
It isn't long before we see another scene in the woods, this time Jack's Mother (Elizabeth Galbraith) is ordering Jack (Eli Brand) to sell their beloved "milky white" cow in order to feed themselves. Soon after this and also in the woods, a Baker (Jos Purvis) and his wife (Kelley Keats) are negotiating with a Witch (Susan Shank) about what it will take to remove the curse on the Baker family that is prohibiting them from having a child.
They had me at live band -- err, orchestra -- which consisted of no less than 10 instruments, including brass, woodwinds, strings, and percussion. Just to hear live music performed in this setting is a treat, and conductor (and flautist) Joanna Sisk-Purvis delivered Jonathan Tunick's orchestrations with quality. All of the musicians knew what they were doing, and my son (who plays cello) particularly enjoyed watching Tanner Lovelace on what looked like an electric bass.
As the Baker and his wife encounter the other characters to collect the items demanded by the Witch to remove their curse, Jos Purvis and Kelley Keats reveal the depth of their relationship -- from friendship to love to frustration and back again -- with a sincerity that is both believable in its substance and its musical delivery. Keats' voice is Broadway quality, and this is no coincidence; but I was even more impressed with how she played her deliberately caricature character with flawless conviction that endeared both character and actor to the audience. Meanwhile, Jos Purvis' performance as the Baker made me think he must be a kind, attentive husband in real life.
Despite some sound issues, all of the actors delivered on their roles. My favorites were Zachary Cook, who played the Wolf and Cinderella's charismatic and flirtatious husband in a way that made me want to hang out with him (but not date him). I particularly enjoyed his witty performance of "Agony" with Rapunzel's Prince (Matt Verner), in which they comically lament the frustrations of princely adolescent love. Rosie Rust's nerdy, verging-on-whiny interpretation of Little Red Riding Hood was entertaining and convincing. And the fleeting moments of Rapunzel's (Claire Cooper) enchanting singing from the tower made me wish that she had a full three-minute solo.
Kudos go to puppet designer Wednesday Purvis. Though it makes no sound throughout the play, the Milky White Cow is lovely in the simplicity of its costume; and its movements are adeptly and organically created by UNC undergraduate Brady Bowman and Durham highschooler Leo Rainey. Lisa Hess and the costuming team have created lovely costumes for all of the characters, the highlight of which is the Baker's Wife's meticulously designed patchwork peasant dress and hair accessories. And the ever-changing lighting, overseen by Cana Yao and Brett Stegall, was more than adequate and lovely to behold against the darkening forest.
In its entirety, the current Stone Soup Theatre Co's production of Into the Woods runs approximately 2 hours and 45 minutes, which -- in my opinion -- is rather long, given the production's suitability for children. My son, who thoroughly enjoyed the first act, was ready to go before the second act even started. Fortunately, this can be done rather effortlessly, as the first act ends with a closure that could (and maybe should) have ended the play. Should you wish to leave after the first act, it is worth the entrance price to do so, particularly if you want to make it a family field trip.
Into the Woods will be performed at the Historic Forest Theatre in Chapel Hill five more times (Oct. 8, 9, and 14-16). I hope you and your family can get there.
Note: Before you go, you should read this article about the Historic Forest Theatre's benign ghostly legend and connection to North Carolina's Lost Colony: https://www.wral.com/forest-theater-century-old-amphitheater-has-hidden-connection-to-lost-colony/19982147/. This is a great place to visit during the month of Halloween.
