Words by Sofia Shann.
For those of you who didn’t manage to nab a ticket to see the UMMTS’ sold-out run of Into The Woods at the Student Union Theatre this week, let me take you on a brief journey through director Natalie Ings’ stunning adaptation of the beloved 1987 classic.
Unfortunately, I may not be quite as captivating as Benger Kelly, whose performance as The Narrator puts the audience completely at ease, guiding the viewers through a complex web of well-known fairy tales, all the while ensuring they never get lost in the labyrinth of unexpected twists and moral examination.
With music and lyrics by Stephen Sondheim and James Lapine’s writing, the task of staging this production is certainly an intimidating one. Yet, despite working with a student budget and the fairly cramped performance space of the SU theatre, the cast and creative team of Into The Woods have managed to do it a whole lot of justice.
Kate Starkey’s set decoration provides a suitably forest-like backdrop without being too overbearing, leaving space for the enchantingly bold lighting design to do the immersive work. While the use of the space between and behind the audience on multiple occasions makes it difficult at times to know where to look, a clever use of spotlighting ultimately keeps it from feeling too disjointed.
One thing I always look out for in amateur shows is the choice of shoes. This may sound nit-picky, but, when the costumes across the board are otherwise great I can’t help but feel slightly disappointed when yellow-threaded Doc Martens strike again. That being said, the aforementioned student budget can really be a kicker for this and, aside from some slight footwear frustration, the wardrobe design is coherent and sophisticated.
The show’s brilliant casting shines through in its perfect harnessing of camp musical comedy and incredibly strong vocals across the board (though Elena Strachan as Cinderella particularly wows in the latter category). The chemistry and hilarious character choices of Aaron Stace and Daniel Garvin as the two princes had the audience in fits of laughter, and Aila Clarke’s sweet but sassy interpretation of Little Red Riding Hood is a joy to watch.
It can be difficult to get the tone right when playing a child, but Clarke’s performance is refreshing, as is Owen Gunn’s as Jack, whose onstage rapport with his cardboard co-star Milky White is nothing short of electric. Speaking of duos, Ruby Spiegel and Stella Haden are brilliant as Lucinda and Florinda, bouncing off each other seamlessly in their self-absorbed, step sister bubble.
While the first act sets the stage with humour and typical fairy-tale-like resolutions, the second act takes a darker turn, exploring themes of love, loss, and righteousness. This is where the three leads really come into their own. Megan Handy draws the audience in with ‘Witch’s Lament’, introducing a sad vulnerability into the theatre which paves the way for Bill Burrow’s heart wrenching rendition of ‘No More’ to finish what she started, leaving more than a few people reaching for tissues. Completing the trio is Katie Sutton, whose candour and sincerity in ‘Moments In The Woods’ evokes a true sense of uncertainty as to where any character stands in the world of the play.
Before I round this off, credit must of course be given to Louis Rost for his musical direction, the high standard of which comes across in the skilful and dynamic accompaniment of the live orchestra, as well as the evident comfort the cast displayed acting and harmonising alongside them.
In a nutshell, UMMTS has done it again. If you missed out on Into The Woods, don’t fret – whether or you’re an avid musical theatre fan or new to the scene, there is something lined up for you to look forward to. Namely, their musical revue titled Hilda’s Haven has just begun its casting process and will run in the SU Theatre from the 12th to the 15th of February. Perfectly timed for an end-of-exams (or perhaps a Valentine’s) treat, it promises to be another unmissable production.
