into the woods

Head for the ‘Woods’ at Signature’s New Theatre

By Ann M. Augherton
HERALD Staff Writer
(From the Issue of 2/1/07)

When worlds collide, especially the world of fairy tales, there is bound to be fallout. When Cinderella and her stepsisters, Jack and his beans, Rapunzel, the witch, the Baker and Little Red Riding Hood all meet up in the woods, there is drama, magic and lessons to be learned.
Signature Theatre inaugurated its new $16 million two-theatre complex in Shirlington last weekend with the Stephen Sondheim classic based on the book by James Lapine. The theatre’s second staging of this play brings Signature veterans back in an interesting mingling of familiar characters.
The narrator (Harry A. Winter) begins the story, which is at first vaguely familiar and quickly quite puzzling. We recognize the characters, but this seldom-seen side of them keeps the audience guessing as the beans grow, the pair of frolicking princes (Sean MacLaughlin and James Moye) pursue Cinderella (Stephanie Waters) and Rapunzel (Erin Driscoll), and the baker finds inner confidence.
A lot happens in a short time. Cinderella makes it to the ball, but isn’t all that impressed by Prince Charming (Moye). Little Red Riding Hood (Lauren Williams) encounters the Baker (Daniel Cooney) and his wife (April Harr Blandin) on her way to see Grandma (Dana Krueger). But her trek is derailed by a rather suggestive wolf (Moye), as he sings “There is no possible way to describe how you feel when you’re talking to your meal.”
The Baker and his wife make a deal with the Witch (Eleasha Gamble) so they can have a baby. She demands four items: the cow as white as milk, the cape as red as blood, the hair as yellow as corn and the slipper as pure as gold.
Circumstances force the characters, who have turned on each other, to find a way to work together. Although it’s not a “Happily Ever After” story, there are lessons to be learned about temptation, good and evil, and social responsibility.
The audience joins the characters in the woods with a clever set, designed by Robert Perdziola, with fog and a slight chill settling around vines and tree branches. Birds are heard hovering just overhead.
The acoustics were a bit spotty, but the live music, directed by Jon Kalbfleisch, was exceptional. Props, like Cinderella’s dress that floats down from the sky, and special effects, like the Witch’s transformation, along with some sight gags, lopping off one of the ugly stepsister’s toes, put a humorous twist on the classic tales.
As the Giant (the recorded voice of Angela Lansbury) approached, each booming footstep shook the theatre and leaves fell from the vines above.
The cast maintains the tempo through touching songs like “Stay with Me” between the witch and Rapunzel, the girl she raised as a daughter, and the humorous duet between the princes called “Agony.” Prince Charming retorts at one point, “I was raised to be charming not sincere.”
Donna Migliaccio, theatre co-founder, plays Jack’s mother, and Stephen Gregory Smith is the simple, yet enthusiastic Jack.
Directed by Eric Schaeffer, with choreography by Karma Camp, lighting by Chris Lee and sound by Tony Angelini, Woods is a great opportunity to check out the new theatre.
Not exactly like the garage where they performed for the last 13 years, the complex maintains the black box design in a 48,000-square foot building that boasts a 299-seat main theatre, where no seat is more than eight rows from the stage, and a 99-seat smaller theatre. A pianist, open bar, coat check and theatre store all lend to the upscale experience, but perhaps the best attraction is the free elevated parking garage behind the theatre.
“Into the Woods” plays at Signature Theatre until Feb. 25.