Into the Woods Review Metropolis Performing Arts Center
Metropolis makes confident, thoughtful journeying 'Into the Woods'
"Into the Woods" -- ★ ★ ★
The Metropolis Performing Arts Center's revival of Stephen Sondheim and James Lapine's 1987 musical "Into the Woods" says something about the confidence the Arlington Heights theater has in its artists.
To an extent, that confidence is well-placed in managing director Robin 1000. Hughes' competent production, which features solid ensemble singing and able performances from its principals, including understudy Marissa Williams, who stepped admirably into the part of Cinderella on opening night.
However, not all the actors are upward to the challenges Sondheim's score poses. Lyrics were sometimes hard to decipher, especially during the first human action when enthusiastic playing by music manager Ken McMullen's eight-piece orchestra threatened to overwhelm the singers.
Ryan Stajmiger, left, and Kate Staiger, play the Baker and his Wife, who need the cow that belongs to Jack (Ethan Warren) to lift a expletive in City Performing Arts Centre'southward "Into the Woods." - Courtesy of Ellen Prather
Weaving together Grimm Brothers stories, "Into the Woods" examines the knotty reality that unfolds one time the fairy tale concludes. In a sense, it's a coming-of-age tale virtually characters coping when their lives -- rife with betrayal, violence and loss -- neglect to alive up to expectations.
Merely the musical is more that. It'due south also a provocative examination of familial relationships: unfaithful lovers, unfulfilled spouses, flawed parents and headstrong children.
The story centers on a Baker (Ryan Stajmiger) and his Wife (Kate Staiger), whose desire for a kid leads them to make a deal with their neighbor the Witch (Kelsey Burd, whose powerful singing is among the show'south avails). If the couple obtains a milk-white cow, a claret-red cape, hair the colour of corn and a slipper pure equally gold, the Witch volition remove the curse she placed on the family decades earlier that prevented the Bakery from having children.
Into the woods they get, in search of the items. Also making his manner through the woods is the genial but dim Jack (an ingenuous, expressive Ethan Warren), whose female parent (Ana Maria Alvarez) ordered him to sell their cow at market.
In another part of the wood, Ruby Riding Hood (the dynamic, determined Anna Segatti) is accosted past a lascivious wolf (Alexander Johnson), while Cinderella (Williams) flees the prince (also played by Johnson), whose middle she caught at the festival.
The Witch (Kelsey Burd), left, warns her adopted daughter Rapunzel (Kim Dark-green) about the danger that awaits in "Into the Woods." - Courtesy of Ellen Prather
Meanwhile, the Witch visits her adopted girl Rapunzel (the sweet-voiced Kim Green), locked in a belfry for her own protection. Unbeknown to the witch, Rapunzel has met a prince of her own (Benjamin Klein) and is plotting her escape.
Act one concludes happily for all. Act ii is a dissimilar story. Literally.
The mood darkens. Gone are the brightly hued, anachronistic gowns with their lace flounces and ribbons by costume designer Rachel S. Parent (who too created the chillingly fanciful masks for the Witch and the Wolf). The kickoff act finery is replaced past simpler, more contemporary apparel, confirming the fantasy is over.
Adam Liston's set -- night and minimalist to begin with -- becomes more foreboding. The forest -- which represent a claiming to exist met, a fear to overcome, a trial to complete -- are even more fraught with danger. In this new reality, a journey into the woods means risking ane's life.
The second human action improves upon the first in content and execution. The staging and performances experience more assured, the vocals and instrumentals more complementary. Remaining consistent are the performances by Hughes' principals, especially Staiger, Stajmiger and Williams.
Benjamin Klein, left, and Alexander Johnson play princes who turn out to be a little less than charming in Stephen Sondheim's musical "Into the Forest," running through Nov. four at the Urban center Performing Arts Centre in Arlington Heights. - Courtesy of Ellen Prather
In this tale of fractured families, Williams' lovely performance of "No One is Alone" is an exquisite reminder that kindred are not necessarily spring past blood.
Staiger and Stajmiger are fine singers whose interim has authenticity. Their iii-dimensional performances reveal a circuitous, conflicted couple in an imperfect spousal relationship, whose delivery to each other -- though strained -- remains intact.
Theirs is no fairy tale romance. It's a real human relationship where infatuation turns to respect and mistakes and disappointment give manner to forgiveness and reconciliation. Like life.
• • •
Location: Metropolis Performing Arts Centre, 111 West. Campbell St., Arlington Heights, (847) 522-2121 or city arts.com
Showtimes: 7:xxx p.m. Thursday and Friday; 3 and seven:30 p.m. Sat; 3 p.m. Sunday; through Nov. 4
Running time: About 2 hours, 30 minutes including suspension
Tickets: $40
Parking: Nearby garage and street parking
Rating: For nearly audiences, some material might frighten immature children
Source: https://www.dailyherald.com/entlife/20171005/metropolis-makes-confident-thoughtful-journey-into-the-woods
0 Response to "Into the Woods Review Metropolis Performing Arts Center"
Post a Comment