There are only three showings left of Into the Woods, meaning time is limited to go see the fairy-tale filled production.
When I went to see the show last Saturday, I had very little knowledge of the musical. I knew that it mixes together a bunch of classic fairy tales and puts all the characters together in an overarching story split into two acts. But, by the end of the show, I was shocked.
Into the Woods is not just a stage production of fairy tales. It creates its own original story, weaving together the elements of each of its patron stories with comedy and conflict in equal measure.
For its opening number, Into the Woods dives right into the exposition, introducing its four major characters and the collection of characters that surround their lives. Right away, it becomes clear just how busy the cast is. The song switches between each major character rapidly, resulting in a fast-paced cacophony of introductions and immediate conflicts.
The show continues on from the opening number, similarly jumping from character to character, though the transitions are far less frantic than that of “Opening”. From then on, we see how the characters’ stories end up bumping into each other, and why they continue to become involved in other fairy tales.
Many of the interactions between characters are comedic, with some slapstick humor of the Baker, played by junior Jack St. Pierre (Tyler Williams understudies), being slap-sticked in the crotch. Little Red, played by Sophia Rubenstein (Amelie Chirhart understudies), undergoes an absurd coming of age, meanwhile Jack, played by Andrew Stroman (Vinn Vatalaro understudies), undergoes a crazy adventure mostly recounted through song and conversation rather than shown with physical depiction.
Then, the first act closes, and the story seems complete. The last song is called “Finale”, after all. But, the second act immediately shows why it’s not over. I found it far more enjoyable than the first, with all the characters now firmly within each other’s lives. The story feels anchored in the new conflict, and the emotional content of the remaining songs had much more impact than the previous musical numbers.
At the end of the show, I felt satisfied with the full story. Yes, the first act was chaotic and at times hard to follow, but it was still deeply entertaining. Then, the second act provided the emotional impact expected of any good stage production.
But enough of the story! The real reason to watch the show is the students, including the magicians on the tech/design side of the house.
When I first entered the auditorium, I was underwhelmed by the set. And then it moved. Each platform could be shifted and rearranged to separate the stage into different environments. At times, the platforms act as the windows into a specific character’s life, or as the buildings and structures of the scene itself. For a show with so many characters, the simplistic set benefited the story significantly, and the dynamics of watching the stage move helped make scene transitions clear, like the end of a chapter.
The costumes fit each character perfectly, immediately clueing the viewer into their identity. The acting for each character was some of my favorite of all the shows I’ve seen at West Po. Jokes were delivered with finesse, and the emotions of each character at times of conflict was clear and genuine.
My review would not be complete, of course, without sharing the best song and the best character.
Of the entire show, I loved Milky White, played by Beeh Work-Dembowski (Lux Gremo understudies). The puppetry was greatly amusing, as was Milky White’s role in the overall story. Witch’s Lament was the best song, as a solo with deep emotional content, giving the Witch, played by Ayla Collins (Lee Assefa understudies), a sympathetic, or unsympathetic side, depending on your perspective.
Overall, I would recommend this show. It may even be enjoyable for younger members of the family, though it does include teen-appropriate references of sex and violence. It makes for a good evening, and has a complex story to consider for days after viewing.
Buy tickets now at westpotomactheatre.org or at the show before you enter.
