RCM & Koerner Corridor/Into the Woods, guide by James Lapine, music and lyrics by Stephen Sondheim, choreographed by Genny Sermonia, music course by Paul Sportelli, directed by Richard Ouzounian, Koerner Corridor, closes Dec. 31. Tickets right here.
There’s something to be mentioned for a live performance model of a giant Broadway musical. Shorn of surroundings and large manufacturing numbers, the intimate nature of the present reveals not solely richer characterizations, however a greater understanding of the connection between the orchestra and the singers.
Such is the efficiency of Stephen Sondheim’s beloved Into the Woods (1986) at the moment working at Koerner Corridor.
Background and Story
After the success of Sunday within the Park with George (1984), composer/lyricist Stephen Sondheim and playwright James Lapine determined to create a fairytale themed musical for his or her second collaboration. After a number of false begins, the duo intertwined a number of Grimm Brother’s tales together with Little Crimson Driving Hood, Cinderella, Jack and the Beanstalk and Rapunzel. Additionally they created a linking subplot a few Baker and his Spouse who should carry a curse placed on them by a Witch in an effort to have a baby.
The primary act ending sees all the desires of the characters being granted and everyone seems to be completely satisfied after their adventures within the woods.
The second act takes a darker tone because the characters should take care of the implications of their needs coming true. In actual fact, the act is an journey of diminishing returns because the characters start to vanish, principally being killed by a marauding Giantess bent of revenge.
On the finish, solely Cinderella, Little Crimson Driving Hood, Jack, and the Baker and his new child son are left alive to face an unsure future.
The Solid
Into the Woods options an enormous solid, and this manufacturing fielded 14 singers who gave uniformly sturdy performances. They had been rewarded by a standing ovation and enthusiastic applause all through the present following every track.
There are standouts, notably Gabi Epstein (Baker’s Spouse), Sara Farb (Witch), Mike Nadajewski (Baker) and Fiona Reid (Jack’s mom and the voice of the Large).
Above all, there’s the supremely proficient Robert Markus who completely nails each the crafty Wolf and Cinderella’s smitten Prince. There’s something additional in Markus’ efficiency that rivets the attention.
A brand new discovery, for me at the very least, is Indigenous soprano Emma Pennell (Cinderella’s Mom) who’s blessed with a delectably mellow voice of delicate sweetness. It caresses the ear. Additionally, kudos to Charlotte Moore (Cinderella’s Stepmother) who stepped in to interchange Nicole Pleasure-Fraser who withdrew because of the lack of her mom.
I at all times love the “Agony” songs carried out by the 2 Princely Brothers, Cinderella’s Prince and Rapunzel’s Prince. They’re my favorite numbers within the musical. Within the first act, the Princes are pining for his or her beloveds, however within the second act reprise, these two cheaters are eager for new loves — Snow White and Sleeping Magnificence. Markus and Indigenous performer Dillan Chiblow didn’t disappoint, giving hilariously passionate performances in each numbers.
Right here is trivia for you.
Within the Broadway present, when all the solid of characters, each alive and lifeless, collect for the finale, the 2 Princes really seem with their new inamoratas, Snow White and Sleeping Magnificence, which is at all times a shock.
Evidently, this didn’t occur on this live performance model.
The Manufacturing
The set is 14 chairs in a row with a trunk within the center, which meant that Richard Ouzounian needed to direct on the lengthy, and he did a terrific job of shifting the motion lengthwise, so to talk.
This live performance model treats the present as a sequence of vignettes which gave us an opportunity to essentially see character and relationships in a clearly outlined approach. Ouzounian ensured that every episode can be vibrant with life and the present simply sparkled with power.
We’ve got to provide a giant shout out to lighting designer Arun Srinivasan who helped promote every character grouping along with his pin-spot lighting, and choreographer Genny Sermonia who created engaging motion in a really slim area.
Ellie Koffman’s costumes are apparently classic clothes gathered from all around the GTA, however the modernist gown labored.
The Music
Which brings us to the music.
Paul Sportelli is the guru behind all of the Shaw Pageant’s musicals, so he comes from greatness. He led the 17-member Glenn Gould Faculty Chamber Orchestra in a brilliantly nuanced studying of the rating, orchestrated by the legendary Jonathan Tunick. Sondheim’s intelligent lyrics with their “infernal inner” rhymes, as I name them, had been matched with brilliance, be aware for be aware. I heard the music as dialog.
Themes
There are many themes inherent on this musical.
You’ve gotten the problem of parent-child relationships, the adage of watch out what you which of them for and the risks of over-weaning self-interest, the truth that decisions have penalties, the significance of duty to the group, and at last, take care in what you say as a result of “Youngsters will pay attention”, because the track says.
The extra instances I expertise Into the Woods, the extra this musical turns into a automobile advocating morality and ethical readability.
In 1986 when the present debuted, HIV/AIDS was ravaging the land, and plenty of took the Large marauding by the woods to be a metaphor for this devastating illness.
Sadly, in 2024, we now have many harmful and damaging Giants to select from throughout the worldwide canvas to be our new metaphor.
Sondheim’s Into the Woods turns into extra related with every passing 12 months.
A Closing Word
And one remaining be aware to RCM/Koerner Corridor.
Please maintain giving us Sondheim musicals.
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Paula Citron is a Toronto-based freelance arts journalist and broadcaster who hosts her personal web site, paulacitron.ca. For over 25 years, she was senior dance author for The Globe and Mail, affiliate editor of Opera Canada journal, arts reviewer for Classical 96.3 FM, and dance previews contributor to Toronto Life journal. She has been a visitor lecturer for numerous cultural teams and universities, notably on the position of the critic/reviewer, and has been a panellist on COC podcasts. Earlier than assuming a full-time journalism profession, Ms. Citron was a member of the drama division of the Claude Watson Faculty for the Arts.
