Review: INTO THE WOODS Enchants at James M. Nederlander Theatre

It was a triumphant night for understudies at Friday evening's touring production of Into the Woods at Chicago's Nederlander Theatre. With Ximone Rose stepping in for Tony award-winner Stephanie J Block as Baker's Wife and Ellie Fishman for Diane Phelan as Cinderella, the magic of live theatre reigned supreme. Fresh off Broadway, this show brought to life one of Sondheim's greatest works in a wholly unique way. Despite the dizzying complexity of the interwoven storylines and the sheer volume of tongue-twisting lyrics, this production helmed by Director Lear deBessonet infused simplicity into the technical elements of the show, perfectly balancing this work of art.

Into the Woods is one of those shows that always gets better with age. Each time you see it, you find yourself relating better to a different character. As a youth, one daydreams about playing Cinderella or one of the Princes, and as an adult you find so much more in common with The Baker and his Wife, or any of the other more mature characters. Whether you're a longtime Sondheim devotee or have never heard of this late, great legend, Into the Woods will prove his genius. Meanings and double meanings pervade the score, and every single lyric is carefully curated, down to the syllable. This is the work of a man who has lived and has thought deeply about the different experiences of life.

With such a plentiful cast full of rock star talent, it's hard to know where to begin. "Once Upon a Time" is as good a place as any, and that brings us to our guide David Patrick Kelly, the grandfatherly Narrator, doubling as the Mysterious Man. His rich voice, tinted with a bit of rasp, was perfect for this role as our storyteller. Though he expertly conducts us through Act I, his relevance in the second act diminishes as rose-tinted glasses of our characters come off, and chaos ensues.

One of the standouts of the evening was Sebastian Arcelus as the Baker, bringing a harried aura to this sometimes stubborn, perpetually frustrated character. Arcelus' and Kelly's rendition of No More was the most gripping song of the evening. The father and son toy with the idea of running away from life's problems, dissecting how that usually just ends up creating a mess of its own.

Most seeing this production will likely have no idea that Ximone Rose as Baker's Wife was the role's understudy, so strong was her performance. The chemistry between her and The Baker was sublime, peaking in the duet It Takes Two. Rose shone especially bright in Maybe They're Magic, a pivotal moment for her character where she demonstrates what she's willing to justify to get what she wants (and if "justifies the beans" isn't the funniest pun in the show, I don't know what is).

The path of this couple is quickly intercepted by one precocious Little Red, off on a mission to visit Granny. Katy Geraghty's delivery of this cute but tough-as-nails girl was a hoot. Her sass and spunk soften somewhat in the upbeat I Know Things Now, a reflection on growing up and loss of innocence. Tony-award winning Gavin Creel as The Wolf attempts to lure her with the uncomfortable number, Hello Little Girl. Though Creel excelled in the portrayal of this predator (hello, double meanings), it didn't make it any easier to watch!

Creel comes back as Cinderella's Price, charming and self-absorbed as can be. Creel and Jason Forbach in the role of Rapunzel's Prince deliver the hilarious crowd-pleaser Agony with all the bone-headed bravado you'd expect. This rather flamboyantly dressed duo played into the stereotype of the aloof, privileged skirt-chaser in all the right ways.

Whether prepping for the festival or fleeing a Prince, Ellie Fishman's Cinderella is all a flutter onstage. Fishman's saccharine, clear voice and her kind face make her a natural fit for this coveted role. She effortlessly delivered On the Steps of the Palace, a notoriously difficult song, proving the strength of her vocal ability. On top of this, Fishman does a beautiful job of capturing Cinderella's character arc and attitude changes throughout the performance.

As dazzling as she was powerful, Montego Glover absolutely slayed in the role of The Witch. From her punchy version of The Witch's Rap to the haunting Last Midnight, Glover's fabulous, wide-ranging vocals captivated the audience. Though her ferocity is not to be matched, Glover's vulnerability is palpable in scenes with Rapunzel, and especially in her masterful delivery of Children Will Listen.

Without The Witch's beloved magic beans, there would be no Giant- and Jack is the one to connect the two. Cole Thompson brings us a Jack that is equal parts boyish innocence and exuberant curiosity. His love for his beloved Milky White is so endearing, yet his many foolish moments will give you secondhand embarrassment. Thompson's inspiring take on Giants in the Sky transported the audience to his fantastical new land in the clouds- a perfectly awe-filled song from this pure of heart character.

Finally- there's Milky White. Not that I would expect anything less from such a quality production, but this was the best version of this simple creature that I have ever seen (do not do a Google image search of "low-budget Milky White" unless you're prepared to be scarred). The use of a puppeteer for Milky White was inspired. Kennedy Kanagawa manages to maneuver this aged farm animal with a swift precision all the while conveying nuanced facial expressions this "old pal" might have had. Kanagawa proves that no role is too small.

The technical aspects of the show were fresh and original, unlike any other production of Into the Woods I have seen in the past. Luminous birch trees descended upon the set seamlessly forming "the woods," their lights coordinated with those illuminating the set. Ingeniously, each time the giant took a step, the trees would shake with each ominous boom. I was delighted to see the live orchestra nestled among the woods instead of in the pit, almost like a Greek chorus of strings and horns in the background.

Costuming for Into the Woods was delectably modern, showcasing pieces that ranged from provincial farm clothes to the dazzling, colorful gowns of Cinderella and The Witch. Lighting design perfectly matched the mood of each scene, occasionally filling the space with intense blue or red hues.

The stupendously talented cast executes flawlessly throughout solo and labyrinthine group numbers- there are truly no weak spots in this production. Into the Woods is bound to inspire, challenge, and resonate with you in ways you'd least expect. Just as our characters venture "into the woods" to pursue their wishes, so must we take risks to realize our own dreams.

Into the Woods plays at the James M. Nederlander Theatre through May 7. Tickets can be purchased here.

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