RCM & Koerner Hall/Into the Woods, book by James Lapine, music and lyrics by Stephen Sondheim, choreographed by Genny Sermonia, music direction by Paul Sportelli, directed by Richard Ouzounian, Koerner Hall, closes Dec. 31. Tickets here.
There is something to be said for a concert version of a big Broadway musical. Shorn of scenery and big production numbers, the intimate nature of the show reveals not only richer characterizations, but a better understanding of the relationship between the orchestra and the singers.
Such is the performance of Stephen Sondheim’s beloved Into the Woods (1986) currently running at Koerner Hall.
Background and Story
After the success of Sunday in the Park with George (1984), composer/lyricist Stephen Sondheim and playwright James Lapine decided to create a fairytale themed musical for their second collaboration. After several false starts, the duo intertwined several Grimm Brother’s stories including Little Red Riding Hood, Cinderella, Jack and the Beanstalk and Rapunzel. They also created a linking subplot about a Baker and his Wife who have to lift a curse put on them by a Witch in order to have a child.
The first act ending sees all the wishes of the characters being granted and everyone is happy after their adventures in the woods.
The second act takes a darker tone as the characters have to deal with the consequences of their wishes coming true. In fact, the act is an adventure of diminishing returns as the characters begin to disappear, mostly being killed by a marauding Giantess bent of revenge.
At the end, only Cinderella, Little Red Riding Hood, Jack, and the Baker and his newborn son are left alive to face an uncertain future.
The Cast
Into the Woods features a huge cast, and this production fielded 14 singers who gave uniformly strong performances. They were rewarded by a standing ovation and enthusiastic applause throughout the show following each song.
There are standouts, particularly Gabi Epstein (Baker’s Wife), Sara Farb (Witch), Mike Nadajewski (Baker) and Fiona Reid (Jack’s mother and the voice of the Giant).
Above all, there is the supremely talented Robert Markus who absolutely nails both the cunning Wolf and Cinderella’s smitten Prince. There is something extra in Markus’ performance that rivets the eye.
A new discovery, for me at least, is Indigenous soprano Emma Pennell (Cinderella’s Mother) who is blessed with a delectably mellow voice of delicate sweetness. It caresses the ear. Also, kudos to Charlotte Moore (Cinderella’s Stepmother) who stepped in to replace Nicole Joy-Fraser who withdrew due to the loss of her mother.
I always love the “Agony” songs performed by the two Princely Brothers, Cinderella’s Prince and Rapunzel’s Prince. They are my favourite numbers in the musical. In the first act, the Princes are pining for their beloveds, but in the second act reprise, these two cheaters are longing for new loves — Snow White and Sleeping Beauty. Markus and Indigenous performer Dillan Chiblow did not disappoint, giving hilariously passionate performances in both numbers.
Here is trivia for you.
In the Broadway show, when the entire cast of characters, both alive and dead, gather for the finale, the two Princes actually appear with their new inamoratas, Snow White and Sleeping Beauty, which is always a shock.
Needless to say, this did not happen in this concert version.
The Production
The set is 14 chairs in a row with a trunk in the middle, which meant that Richard Ouzounian had to direct on the long, and he did a terrific job of moving the action lengthwise, so to speak.
This concert version treats the show as a series of vignettes which gave us a chance to really see character and relationships in a clearly defined way. Ouzounian ensured that each episode would be vibrant with life and the show just sparkled with energy.
We have to give a big shout out to lighting designer Arun Srinivasan who helped promote each character grouping with his pin-spot lighting, and choreographer Genny Sermonia who created attractive movement in a very narrow space.
Ellie Koffman’s costumes are apparently vintage clothing gathered from all over the GTA, but the modernist dress worked.
The Music
Which brings us to the music.
Paul Sportelli is the guru behind all the Shaw Festival’s musicals, so he comes from greatness. He led the 17-member Glenn Gould School Chamber Orchestra in a brilliantly nuanced reading of the score, orchestrated by the legendary Jonathan Tunick. Sondheim’s clever lyrics with their “infernal internal” rhymes, as I call them, were matched with brilliance, note for note. I heard the music as conversation.
Themes
There are lots of themes inherent in this musical.
You have the difficulty of parent-child relationships, the adage of be careful what you which for and the dangers of over-weaning self-interest, the fact that choices have consequences, the importance of responsibility to the community, and finally, take care in what you say because “Children will listen”, as the song says.
The more times I experience Into the Woods, the more this musical becomes a vehicle advocating morality and moral clarity.
In 1986 when the show debuted, HIV/AIDS was ravaging the land, and many took the Giant marauding through the woods to be a metaphor for this devastating disease.
Sadly, in 2024, we have many dangerous and damaging Giants to choose from across the worldwide canvas to be our new metaphor.
Sondheim’s Into the Woods becomes more relevant with each passing year.
A Final Note
And one final note to RCM/Koerner Hall.
Please keep giving us Sondheim musicals.
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