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Into the Woods – 4 Stars

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Woods

Into the Woods

Cockpit Theatre

Reviewed – 25th May 2018

★★★★

“a hugely complex work with multi-layered lessons and warnings”

 

Sondheim and Lapine’s Tony Award winning musical, ‘Into the Woods’, is transported imaginatively to the 21st century by Tim McArthur in a slick and entertaining production. It illustrates the timelessness of fairy tales, the messages they convey and, more importantly, the ones they don’t. ‘Cinderella’, ‘Little Red Riding Hood’, ‘Jack and the Bean Stalk’ and ‘Rapunzel’ are woven together by the plight of a baker and his wife who must undo a spell of infertility cast on them by a wicked witch. In Act One we enjoy the familiar stories as they all wish for their dreams and enter the woods – the big, brutal world – in pursuit of them. Their quests successful and desires fulfilled, they can live happily ever after. Or can they? Act Two unravels these aspirations, the consequences of how they are achieved, followed by disillusionment, responsibility, revenge, loss … and, ultimately, the many realisations of adulthood, including the underlying fascination for what lies in the woods.

The array of contemporary, larger-than-life roles fits effortlessly together. Some, however, find a more rounded definition than others: Jamie O’Donnell steals the show with his beautifully detailed interpretation of Jack, giving him depth and pathos, and his mother (Madeleine MacMahon) draws a wonderful picture of his background with her strong personality. Michele Moran, as the witch, arouses both fear and sympathy and Cinderella (Abigail Carter-Simpson) and Red Riding Hood (Florence Odumosu) depict a more human and questioning side to their personalities from the beginning. As the narrator, Jordan Michael Todd skilfully creates his own charismatic persona, embedding himself surreptitiously into the action while drawing us in as the storyteller.

The ensemble singing is tightly coordinated and well-balanced but the individual voices are less consistent. Both Jo Wickham and Tim McArthur show their professional musical theatre experience and there are many strong newcomers, but a few are, on occasions, overshadowed by the band. Aaron Clingham (Musical Director) and his musicians provide the perfect accompaniment to the performance.

Staged in the round, we are wrapped up in the comings and goings of the play, with wood chippings underfoot. Joana Dias’ set design of assorted ladders gives the feeling of a play for adults, offset by the rudimentary props. The lighting (Vittorio Verta) ably fashions the dappled sunlight and shadows in the woods as well as the fairy-tale special effects.

‘Into the Woods’ is a hugely complex work with multi-layered lessons and warnings. The overriding theme appears as “Be careful what you wish for” but there is also a powerful point made to parents: “Be careful what you say, children may listen”. Mothers and fathers figure prominently, accepting or otherwise the repercussions of their parenting. It broaches the subjects of blame and greed, reinforces the supportive nature of survival and addresses our natural sense of adventure – do we want to live happily ever after or do we want to live life? Tim McArthur’s astute direction brings out these ideas and makes them relevant.

 

Reviewed by Joanna Hetherington 

Photography by David Ovenden

 


Into the Woods

Cockpit Theatre until 24th June

 

Related
Also directed by Tim McArthur
Hot Lips & Cold War | ★★★★★ | London Theatre Workshop | February 2018

 

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Hot Lips & Cold War – 5 Stars

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Lips

Hot Lips & Cold War

London Theatre Workshop

Reviewed – 1st February 2018

★★★★★

“the three actors delivering palpable chemistry”

 

Welcome to the Kennedy administration, a time when race riots are escalating, the fear of nuclear war is unending, and the President keeps locking himself in the pool house with young ladies. In this piece developed through the London Theatre Workshop, Lizzie Freeborn takes us on a musical exploration of one of most glamorous and fraught periods in modern culture.

The show opens with a wide-eyed Irish girl called Maria (Sylvie Briggs), who finds herself in the confidence of Jackie Kennedy after being taken to America by the seedy Davy (Adam Small). Briggs is very engaging to watch and exudes an innocence which greatly contrasts with the scheming and deception the plot is so rife with.

Marcia Sommerford is poised but determined as Jackie Kennedy, and brings strength to a woman having to accept her husband’s infidelities and the pressures of a high-profile existence. “This isn’t a home, it’s an institution!” her husband reminds her harshly as she tries to create some domestic normality. Robert Oliver is suitably charming as JFK, and possesses an incredibly powerful voice (very fitting for the leader of the free world). Kenny O’Donnel (Lewis Rae) struggles to work for the interests of both parties while remaining impartial, and Rae succeeds in showing the conflict of professional obligations and personal opinions.

The costumes (Hal and Ruthie Theatrical Design) are very well done and include a notable number of changes for each character. Jackie Kennedy’s silk nightgown is a clever reminder that the First Lady was not lacking in sex appeal, albeit a more subtle kind than displayed by her more buxom love rival. In ‘Pentaxia’ we are shown the chemistry between JFK and his two partners as they dance around each other. This number demonstrates how JFK can be both an affectionate husband and a serial womaniser, with the three actors delivering palpable chemistry between them.

The subplot involving integration adds a nice balance to the glamour of the Kennedy-centred storylines, and leads to one the standout songs ‘You’ll Hear the South Roar’. Ashley Knight throws himself into the role of the prejudiced Southerner Jerome Kingsley and Florence Odumosu gives a powerful performance as Grace, a black staff member trying to protest injustice without jeopardising her position. Her son Marvin (Jamal Franklin) might even be more charming than the POTUS himself and his number ‘You Bet You Be Glad’ is particularly enjoyable.

Freya Tilly plays Marilyn with an effective differentiation between the public persona and the private, and gives an impressive rendition of the infamous ‘Happy Birthday’ incident without straying into parody territory. Marilyn’s death is staged particularly well (Tim McArthur) as the star walks away from the president who has grown bored of her and towards a brightly lit doorway at the back of the stage.

This was a thoroughly entertaining experience that offered alternative perspectives on iconic moments from this period. The score is strong throughout with more than a few standout moments from the cast, a definite recommendation.

 

Reviewed by Ella McCarron

Photography by Jamie Scott-Smith

 


Hot Lips & Cold War

London Theatre Workshop until 24th February

 

 

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