Review: INTO THE WOODS at Hackmatack Playhouse

The journey from "Once Upon a Time" to "Happily Ever After" takes a few sinister detours in the season opener of “Into the Woods” at the Hackmatack Playhouse in Berwick, Maine.

Stephen Sondheim and James Lapine's "Into the Woods" takes center stage, weaving a whimsical tapestry of classic fairy tales with a darkly humorous twist. Director Taryn Herman masterfully guides the audience on a journey that is both familiar and refreshingly unorthodox, proving that theatrical magic can bloom within the walls of a rustic barn in a small Maine town.

Mind you, this is not a children's show. Think of it as fairy tales for adults. There is humor to be found in the misfortunes of these characters and this journey “into the woods” is well worth taking.

The story begins with a humble narrator (Justin Demers) who describes a woods populated with a world of dark and dysfunctional characters. There is a sharp tongued and ravishingly hungry Little Red Riding Hood (Amelia Klippenstein), her grandma and other characters (Kate Burns), a not so bright Jack (Matt McGrath) of Jack and the Beanstalk fame, his nagging Mother (Linette Miles) and pet cow, Milky White, a puppet brought to life by Jordan C. Formichelli.

There's also Cinderella (Emily Rose), her wicked stepmother, (Katie Gall) wicked stepsisters, Florinda (Katelin Garland) and Lucinda (Keyana Reid) and a deeply troubled and neglected child, Rapunzel (Emma Joanis).

But most of the action takes place in the roles of the Baker and his wife, (played by Joseph Petmezis and Shaughnessey H. Gower), along with two lovelorn princes, one pining for Cinderella (Marcus Provost, who also portrays the Wolf) the other for Rapunzel (Michael Pullen.)

And if that were not enough to give you bedtime story nightmares, there's a ragged old witch turned into a beauty (Emily Zentis) who leaves a path of magic spells and mystical doings.

In this wonderful mix of fairy tales, all of act one is spent wishing for things and making them come true, while the second act depicts a not so delightful world that disintegrates into disasters.

Petmezis and Gower own the evening in their wonderful portrayals. Petmezis has a strong stage voice who plays the role with a kindness and compassion that is heartwarming. He's especially calming in "No More" and "No One is Alone."

Gower oozes charm and beauty in a role that's playful, amusing and endearing. Her "Moments in the Woods" and "A Very Nice Prince" add a nice flair to the song selection and her number  "It Takes Two" with Petmezis shows the warmth between the two actors.

Provost and Pullen are brilliant as the overbearing and ego driven princes. With well time nuance and appropriate moments of overacting, their number "Agony" and its reprise are comic gems.

Rose’s Cinderella is done with Disney-esque flair and captures her desire for a better life. She’s wide eyed, sweet, and engaging with a wonderful voice. Klippenstein’s Red Riding Hood is delightfully impish especially in the number, "I Know Things Now." McGrath’s vocals were a bit thin in the first act but found their stride in the second act. Joanis is vocally sound and has fun with the role of Rapunzel. Hyla Fitchett is a notably noble royal steward.

Demers is a natural storyteller as the narrator/mysterious character and, with a clever addition to the show, he is accompanied by two youngsters (Crosby Q. Curtis and Clara Curtis) well engaged in the story being told. I only wish that you could have heard their occasional lines more clearly. (Mama Rose from the show, “Gypsy” would advise to “Sing out, Louise!”) 

Zentis perfectly rises to the vocal challenge of a Sondheim score with little effort. She hits every note with perfection and gives a powerfully convincing performance.  

Music director, Miles Burns, brings a robust sound from the small pit orchestra that doesn’t overwhelm the onstage vocals in the compact theater. A six-member band is a nice luxury for this production. The entire cast tackles the score with confidence. In fact, any cast that can master the number, “Your Fault” is brilliant in my mind. 

The set design by Meghan Flynn cleverly utilizes the limitations of the space. A well-placed platform and stairway serve as a crossroads in the action.  Surrounding it are suggestive elements – a beanstalk reaching towards the rafters, a path leading into the unseen woods, Rapunzel’s unapproachable tower, and a campfire-like setting center stage for the narrator. Simple and well done.   

With a general admission policy at the theater, there are well placed comfortable folding chairs and a few tables for two in the former barn at Hackmatack. Arrive early to get your preferred seating and to visit the concession stand.

And while I can imagine seeing the show on one of those great Maine summer evenings with a cool breeze filtering through the open barn doors, be aware that the theater is not air conditioned for those muggy, warm nights of recent days. If you don’t do well in a non-air-conditioned space, be sure to stay hydrated with a beverage of your choice and bring a fan to move the air a bit. This will make a humid evening much more comfortable. 

Show times are Thursday, Friday, Saturday at 7:30 pm with Saturday Matinees at 2 pm and Select Thursday Matinees at 2 pm. The show runs through July 20.

Ahead in the Hackmatack schedule are performances of “Proof,” and “Little Women.”

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