I Wish

Into the Woods

In stories, as in real life, everyone wishes for something better. Sometimes the wishes come true, but not without a cost. There’s always consequences for our actions and a price to pay. As each of us follow our chosen path to fulfill our wishes, we impact those around us. Because, as one of the most beautiful songs from this score reminds us, “No one is alone.” As each of the characters leaves his or her comfort zone and heads into the woods to make a wish come true, risks will be taken to achieve the goals. And after all that happens in this musical, because life goes on, we’re always looking ahead and hoping for something more. So at the end of the show, one of the characters expresses that eternal feeling, “I wish.”

So try to imagine the characters from your favorite childhood fairy tales all living in the same village. Their familiar stories begin to blend together as Cinderella, her Stepmother and Stepsisters, Little Red Riding Hood, Jack (of the Beanstalk fame), his Mother and their Cow, Rapunzel and the Witch, a couple of Princes, A Big Bad Wolf and other familiar characters, all try to survive their magical existence. And, like all of us, every character has a wish, and their yearning for something more in life does affect everyone around them. They all learn that they must journey into the woods, around the trees, down shadowy paths, into deep ravines and back into the sunlight in order to achieve what they want. But once upon a time there’ll be sacrifices and losses, both of love and of loved ones.

Kokanday Production’s talented Artistic Director Derek Van Barham has cleverly reimagined this beloved 1986 Stephen Sondheim and James Lapine musical. Derek’s production is intimate and immersive. He’s scaled the show down in every way imaginable. The annoying pillars of the lower level that support the ceiling above have wisely been converted into the woodland trees. The audience is no longer watching the musical from a distance. Instead, theatergoers blend in with the cast, seated all around the Studio Theatre, as if a part of the show. There is no fourth wall; Mr. Van Barham has staged his actors to share their stories directly with individual audience members. And it’s no longer an enormous cast, but only twelve talented Chicago-based actor/singers. They portray all the roles, with many performers playing multiple characters. And the familiar multi-piece orchestra has been replaced by a pair of lovely, acoustic grand pianos, around which the entire production revolves. Under Nick Sula’s accomplished Musical Direction, Sondheim’s lush score is performed with gusto and finesse by two incredibly talented pianists: Ariana Miles and Evelyn Ryan.

Stephen Sondheim’s brillant score, with its sharp, exquisite, often humorous lyrics, is filled with clever internal rhythms and rhymes. Even the incidental music is melodic and haunting. His songs enhance James Lapine’s interesting blend of these familiar stories and propels the characters forward on a journey of growth and self-discovery. 

In the frothy first act it’s mostly light and laughter, as spells are cast and wishes come true. But the musical does an about-face in Act II, offering a darker, much more sobering and thoughtful plot line. In the end, the journey taken is magical and illuminating, both for the characters and the audience. And while I always enjoy Act I, Mr. Van Barham has directed Act II with more significance and definition of character than I’ve ever seen before. He’s especially staged the final scene with so much dignity and poignancy that tears began to flow. This production has so much to offer.

The cast is very good. Jeff Award-winner Kevin Webb, who has dazzled and delighted audience in so many roles, is absolutely terrific as the Baker. His final scene is an especially emotional moment. Sonia Goldberg is alternately funny and passionate as the Baker’s Wife. Stephanie Stockstill is commanding and acerbic as the Witch; Kevin Perra makes a sweet and earnest Jack; and Anna Seibert is pitch-perfect and droll Little Red. But it’s Madison Kauffman who is the standout in this production. She brings so much to her portrayal of Cinderella. Ms. Kauffman doesn’t just play the role, she seems to actually inhabit the character. I found myself searching for her in each scene because she’s so totally involved in everyone’s story.

Veteran performer Honey West lends her resonant voice to The Giant, with great aplomb. August Forman nicely melds together both the Narrator, the Mysterious Man and Cinderella’s Father. The two Princes are played with relish by Shea Hopkins and Jonathan Allsop, with Hopkins superb as the lecherous Wolf and Allsop appropriately arrogant as the Steward. Lovely and talented Emily Goldberg is stunning as Cinderella’s Stepmother. Ismael Garcia is a powerhouse as both Rapunzel and Florinda, while talented Britain Gebhardt makes a strong Mother for Jack, and she’s equally haughty as Lucinda; both actors also cleverly handle Cinderella’s feathered friends, who are a big part of the story.

My only complaint is that the look of this production, except for the grand pianos, is grungy and cluttered. I like G. “Max” Maxin III’s fascinating Lighting Design that mixed traditional theatrical lamps with a multitude of hanging lightbulbs. But his Set Design was strange and unsettling. The pillar trees are cleverly covered in yellowed pages from storybooks. However, there seems to be litter stuffed everywhere and nothing looks particularly elegant, which is an artistic choice, I guess. I just didn’t care for it. Most of the costumes, the makeups, and the unkempt look of the set was just confusing.

Kokandy Production’s INTO THE WOODS is filled with beautiful performances, Stephen Sondheim’s gorgeous music and songs peppered with sly naughtiness (“Hello, Little Girl”). The musical offers hilarious hyperbole and juxtapositions (“Moments in the Woods”), lessons to be learned (“I Know Things Now”), and lessons that sometimes need repeating (“Children Will Listen,” “No One is Alone”). 

This magical production is about the consequences of what happens when wishes are fulfilled, learning what it means to grow up, accepting responsibility and recollecting the fragile relationship that exists between a parent and a child. This production, thanks to some great performances, excellent singing and Derek Van Barham’s wise direction, will touch the heart and charm the child out of any cynical grownup. Everyone should take a walk INTO THE WOODS because audiences are sure to leave the forest thinking, “I Wish.”     

Highly Recommended

Reviewed by Colin Douglas

Presented October 10-December 22 by Kokandy Productions in the Chopin Downstairs Studio Theatre, 1543 W. Division St., Chicago.

Tickets are available in person at the box office or by going to www.kokandyproductions.com

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