Review: INTO THE WOODS at City Theatre Austin

City Theatre Austin’s production of Stephen Sondheim's Into the Woods is a captivating exploration of fairy tales and human desires. The musical skillfully weaves together the stories of Cinderella, Jack and the Beanstalk, Rapunzel, Little Red Riding Hood, and others, delving into the complexities of choice and consequence. Sondheim’s central message suggests that amid life’s winding journey, we can find strength in our community so that we don’t have to face the woods alone.

The narrative begins with classic fairy tale motifs: a Baker and his wife, cursed by a witch to remain childless, embark on a quest to lift the curse. Along their journey, they encounter familiar characters like Cinderella, Jack, and Little Red Riding Hood, each with their own desires and quests. By the end of the first act, these characters achieve their wishes and find their own versions of happily-ever-after. However, the second act reveals the darker consequences of their choices. Central to the story is the woods, a symbolic and literal space representing the unknown, the journey of life, the chaos of human experience, and the place where dreams confront reality.

The score is popular for good reason—it's relatable, fun, and undeniably catchy. The melodies linger long after you leave the theatre, and it’s hard not to find yourself humming “Into the Woods” or “Children Will Listen” days after the show. 

James Lapine’s characters are more nuanced and authentic than those found in traditional storybooks. They reveal humanity through their flaws, unfulfilled desires, lies, deceit, and their painful journeys toward redemption. These characters are both humorous and heartbreaking, resilient and hopeful—offering a deeply human experience.

Sarah Reynolds shines as Cinderella, bringing an uplifting voice and subtle comedic timing to the role. Her performance beautifully conveys the princess's sweet and gentle demeanor, while also capturing her touch of clumsiness and indecision. Sage Stoakely enchants as The Witch from the moment she enters the stage. Although her “ugly side” was particularly striking, she was a joy to watch throughout her character’s transformation. 

Matthew Hubble, who plays both Cinderella’s Prince and the Wolf, and Ty Hawton, as Rapunzel’s Prince, deliver a hilarious rendition of “Agony,” one of the show’s standout numbers. Their impeccable physicality and exaggerated comedic timing bring charm and wit to their portrayals of the self-centered, spoiled princes.

Cassidy Thompson delivers a standout performance as Baker’s Wife, beginning with a demure and subtle presence that evolves into a portrayal of raw talent, strong vocals, and courage. Her character’s growth mirrors her own, showcasing her impressive range and depth.

Into the Woods carries a darkness that invites a deep exploration of the human psyche—a topic for another time. Personally, I appreciate dark humor, and it’s well represented here. The Wolf, portrayed with cunning charm by Matthew Hubble, embodies this darkness, especially in the number “Hello, Little Girl.” In this scene, he seduces Little Red (played delightfully by Jessica Brynn Cohen), revelling in her innocence and youth with lines like “think of that flesh, pink and plump.” Little Red responds with a mix of excitement and empowerment, reflected in her lines “scary is exciting” and “nice is different than good,” capturing the allure of forbidden adventures.

Rounding out the wonderful cast are Robert Joseph as the Narrator/Mysterious Man, Isaan Nicolau as Jack, Sue Breland as Jack’s Mother, Nathan Clemenson as the Baker, and the hilarious trio of Cinderella’s Stepmother (Deanna Lalich), Florinda (Cait Rudd), and Lucinda (Alexis Gedallovich). Also notable are Freddy Carnes as Cinderella’s Father, Gina Houston as Cinderella’s Mother/Giant, Dominique Sharifi as Rapunzel, Zachary Gonzales as the Steward, and Judy Lee as the ferocious Granny.

Stephen Sondheim, known for his clever and rapid-fire lyrics, pairs his words with complex and often dissonant melodies, presenting a formidable challenge for any performer. However, under the music direction of Carrie Culver, the cast of City Theatre’s production of Into the Woods delivers these demanding pieces beautifully.

On stage, no one is alone in Into the Woods. During densely packed musical numbers, where the entire cast interacts, the challenges and limitations of the Genesis Collective become evident. However, Andy Berkovsky’s direction addresses these issues effectively by employing an open set design (Berkovsky) and minimal set pieces and props (Eureka Theatrical). This approach facilitates smooth transitions between scenes—from small-town homes and gardens to the woods—and helps reduce the awkwardness of an overcrowded stage.

I recommend you venture Into the Woods, and enjoy this lovely production. My favorite musical numbers were “Children Will Listen,” “Agony,” and “Your Fault.” Come back and tell me which one was yours! 

Duration: 2 hours and 25 min plus intermission

Into the Woods

Book by James Lapine

Music and Lyrics by Stephen Sondheim

Directed by Andy Berkovsky

Now playing through September 29th, 2024

Thursdays through Saturdays at 8:00pm

Sundays at 3:00pm

City Theatre Austin

At the Genesis Creative Collective

507 Wilshire Blvd. Austin 78722

 

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