Into the Woods gets a Decent Treatment by the Orpheus Musical Theatre Society

As disquieting as it is funny, Stephen Sondheim and James Lapine’s Into the Woods gets a decent treatment by the Orpheus Musical Theatre Society.

There are some real highlights in the not-so-happily-ever-after story that cobbles together bits of various Brothers Grimm fairy tales with a new, central plotline about a baker and his wife and their quest to have a child. Skye MacDiarmid as Cinderella and Shaun Toohey as the penurious baker are the vocal standouts: sung in two, widely separated pools of light, their big duet No One is Alone closes the show with a bang.

Nicole Milne lends a crusty touch to her role as the witch, and her Our Little World duet with her daughter Rapunzel (Julia Barry) blends poignancy and humour in haunting proportions. Orpheus newcomer Mackenzie Salhany makes a spunky Little Red Ridinghood.

However, Into the Woods – with its themes of questing, selfishness and that ever precarious journey into one’s own psyche – is an overly long and ambitious show. Under artistic director Michael Gareau, the pace too often flags or is uneven, and the performers’ exits are awkward, drawing attention to their leaving instead of segueing into the next bit of action. Debbie Millett’s choreography is sometimes stilted, as though still at the rehearsal stage. There were also missed lighting cues (David Magladry designed the lighting) on opening night.

Marlene Hudson conducted the orchestra in her always-welcome, no-nonsense fashion, and Laura Duncan did the workable set.

Patrick Langston

Ottawa, March 5, 2011