Into the Woods continues at the Assembly Hall until 28 August.
Star rating: three stars ★ ★ ★ ✩ ✩
The Royal Conservatoire of Scotland is never afraid of tackling the big shows – in musical theatre terms there are few bigger than Into the Woods.
Being more widely-known since the film version, you can all but hear the audience joining in ‘sotto voce’. A bit like Shakespeare in the theatre – the audience knows what is coming next, so you’d better do it well and, if possible, surprisingly.
So to this production: the set is elaborate and has a post-apocalyptical feel about it. Very suited to the chaos and disorder of Act II, but somewhat irrelevant in the more straightforward telling of the tales in Act I.
Direction may have been hampered somewhat by the set’s limitations and at time the ‘flow’ of scansion across the stage is interrupted or even reversed. A subtle detail, but something repeated frequently enough to take something away from the bigger picture.
A Sondheim score is notoriously challenging; the orchestra performs impeccably, out of sight, but deeply appreciated.
Vocally, some of the performances are stronger than others. In the cast I saw, Maxine Aquilina (the Baker’s Wife) and Philippa Cassar (Cinderella) were outstanding (even if ‘slipper’ became ‘flipper’ here and there!).
Vocal enunciation is an issue in several areas, especially the beginning and endings of pieces – perhaps having a conducting monitor would be a solution to keep musicians and singers together.
Uniquely, in my experience, the princes were cast as twins: Peter and Andras Horvath. Both are well cast with great presence, but perhaps a missed opportunity to bring a unique ‘take’ on this show of muddled fairy tales. The brothers’ vocal blend on can be spine-tinglingly wonderful.
I love a feisty Red Riding Hood and Abigail Stephenson was on point; she was also very good at bringing the audience in on her joke, knowing she could ‘get away with murder’.
Her scene with the Wolf could have been stronger; one can but hope that the Johnny Depp interpretation can be overcome. The Wolf’s charm is there in both the music and James Lapine’s dialogue. The shadow puppetry eating scene is well done and genuinely scary for younger patrons.
It continues to be a delight that the cast is in one or other of the shorter shows presented by the Conservatoire in repertory. A wonderful showcase for young and emerging talent.
Please note that this is a full-length production and plan your schedule accordingly!
Fiona Orr
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