Sondheim’s Most Enchanting Musical

Into the Woods – Music Works Theater

The fulfillment of wishes and their consequences, the pain of growing up, parent and child relationships, learning to accept responsibility and the message that no one is alone: those are the themes that Stephen Sondheim leaves us with by the end of this magical musical. Imagine a world in which many of your favorite childhood fairy tale characters all live in the same neighborhood? Suddenly those familiar stories begin to merge and blend together as Cinderella, her Prince Charming, Little Red Riding Hood, the Big Bad Wolf, Jack and his beanstalk, Rapunzel, her witchy mother and many others, all work together trying to survive their enchanted existence. Stephen Sondheim and James Lapine’s clever interweaving of these stories propel the familiar characters forward on a journey of growth and self-discovery. The first act is frothy and fanciful but, in an unexpected about-face, the second act offers a darker, more sobering and thought-provoking storyline. The result is simply magical, especially in Music Theater Work’s deliciously delectable production. 

So much respect goes to Artistic Director Rudy Hogenmiller for his imaginative and intelligent staging that infuses this magnificent production, bringing each character and story from page to stage. Additionally, his show leaps from the stage through the magic of Roger L. Bingaman’s polished musical direction, enabling his cast to beautifully sing and finely enunciate Sondheim’s lush melodies, tongue-twisting lyrics and acrobatic rhymes. Mr. Bingaman also conducts a talented fifteen-member pit orchestra, recreating Jonathan Tunick’s rich, original Broadway orchestrations. And Clayton Cross, as always, provides his usual clever choreography and movement for this production, adding one more level of delight.

Christopher Rhoton’s colorful, fantastic scenic design, full of foliage and moving birch trees, is enhanced by Andrew H. Meyers’ storybook lighting and Aaron Quick’s challenging sound design. Lovely, exquisitely-styled, whimsical fairytale costumes by Jesus Perez and Jane DeBondt are a highlight of this production. Then Alice Salazar’s hair, wig and makeup designs take each character to another level, making this production look as if it’s direct from Broadway. And Properties Designer Jamie Karas was put to the test, fulfilling such demands as yards of curly, breakaway hair, “as yellow as corn,” and a portable cow “as white as milk,” among many other prop items. 

This large and extremely talented cast is led by the magnificent Michelle Jasso, who achieves a new personal level of excellence as the Witch. Alternately the bitchy diva and the sensitive parent, Ms. Jasso’s sophisticated style and comic talent are complimented by a lush voice that caresses Sondheim’s difficult music with aplomb. Especially beautiful are her soul searching, “Last Midnight,” and “Stay with Me,” a mother/daughter duet sung with Rapunzel, nicely played by Sarah Wasserman.

Beautiful Kelly Britt, with a voice like Waterford crystal, was born to play Cinderella. She’s always lovely, whether in her soiled scullery rags or a luxurious ballgown and golden slippers. Ms. Britt’s performance is compelling, honest and refreshing; and her renditions of “A Very Nice Prince,” “On the Steps of the Palace” and the sublime “No One is Alone” are quite simply gorgeous.

Alexis Armstrong’s humane, grounded portrayal of the sensible Baker’s Wife is equally terrific. The actress strongly resembles Joanna Gleason, who famously created the role on Broadway. Ms. Armstrong demonstrates a flair for subtle comedy and a strong singing voice. She’s especially fine with her “Moments in the Woods.” Ms. Armstrong’s nicely balanced by handsome Daniel Tatar’s humorous, but pragmatic and beautifully sung Baker. Their search for the ingredients that the witch requires to break a spell, so that the couple might finally have a child (“It Takes Two”), establishes the the couple as the protagonists of this play. 

Other fine performances come from Cecilia Iole, as a precocious and insatiably hungry Little Red Ridinghood, along with Christopher Ratliff’s naive and adventurous Jack. Both characters journey down the road to wisdom and adulthood by the end of the play. Each of these young performers is blessed with great acting skill and powerful musical talents. Jack’s Mother, portrayed by comic mistress Anne Marie Lewis, also contributes a lovely singing voice to her role.

The two Royals in this play provide much of the comedy. Cinderella’s Prince (“who was raised to be charming, not sincere”), is played with appropriate arrogance and insincerity by Benjamin Sprunger. He also appears earlier as Little Red Riding Hood’s dark, drooling aggressor, the Big Bad Wolf. One of Chicago’s finest actor/singers, the three-time Jeff Award nominee Maxwell J. DeTogne, is perfect as Rapunzel’s hilarious Prince. He and Sprunger try to top one another musically through their plaintive duet, “Agony.” And James Harms taps into his many talents as the subtly sardonic Narrator. He also doubles in the role of the old Mysterious Man. More humor is proffered by Katherine Condit, Caitlyn Glennon and Evelyn Finne with their sharp portrayals of Cinderella’s haughty Stepmother and two mean-spirited Stepsisters.   

Beautiful to look at and brimming with gorgeous songs, Rudy Hogenmiller brings Music Theater Works’ current season to a close with this wonderfully magical musical. Filled with moments of sly naughtiness (“Hello, Little Girl”), hilarious hyperbole (“Agony”), new lessons to be learned (“I Know Things Now”), and old lessons that bear repeating (“Children Will Listen,” “No One is Alone”), this glorious production of Sondheim’s most enchanting musical will charm the child out of the most hardened adult. As the Baker’s Wife sings, “That’s what woods are for: for those moments in the woods.” Every theatergoer will enjoy his trip through this enchanted forest, taking home many memories gleaned from moments spent in these woods.

Highly Recommended

Reviewed by Colin Douglas

Presented December 22-31 by Music Theater Works at Cahn Auditorium, 600 Emerson Street, Evanston, IL.

Tickets are available in person at the box office, by calling 847-920-5360 or by going to www.MusicTheaterWorks.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.