Away with the fairytales
By
Kieron Quirke
19 Jun 2007
Stephen Sondheim's 1986 show is a real piece of work and it gets a fine outing in this vivacious, magical production at the Royal Opera House. A subversive pantomime, it begins by pulling apart the meanings of fairy tales then in its clever - sometimes clever-clever - way, moves on to pick over the comfortable certainties at their hearts.
In a Shrek-type fantasy world, four familiar heroes set out among the clocks, mirrors and shifting trees of designer Lez Brotherston's woods in search of dreams that frighten and entice them. As the cast relish every speechified rhythm of Sondheim's rhyme-packed songs and every bone-dry joke in James Lapine's self-mocking book, we begin to see the worldlier undertones of the famous stories.
Gillian Kirkpatrick's Cinderella plays games with her prince, unsure whether she wants to be caught. Suzanne Toase's Red Riding Hood is a little madam who charms us from the moment she introduces the insidiously childish and weirdly catchy title song. An innocent on the look-out, she allows us to take her "devouring" by the wolf as figuratively as we please. Clive Rowe's Baker and Anna Fran-colini's Baker's Wife grow in stature before our eyes, as their quest to find a child unlocks their hidden depths.
Musical standards are high. The tongue-twisting company numbers stand your hairs on end. Still, there's the occasional slip. Peter Caulfield is an endearing, dim-witted Jack, but can't nail his lovely ballad Giants In The Sky. The central Witch is a better part than Beverley Klein's rather hysterical performance makes of it.
There is also the problem of the second half, which, with the adventures of the long first half conventionally concluded, looks to their medium-term consequences. The wife of Jack's giant runs wild, Prince Charming is a seducer and Rapunzel has post traumatic disorders. Sondheim and Lapine reduce their world to chaos then ask us to hang around while they draw lessons from the confusion.
Despite more touching, intelligent singing from Rowe and Francolini, the show begins to feel dislocated and preachy. Perhaps it's easier to contemplate chasing your dreams, than what happens when you achieve them.
• Until June 30 (020 7304 4000, www.roh.org.uk).
Details are correct at the time of publication - please check with venue before booking.
Reader views (3)
I travelled up to London to watch "Into the woods" on Monday with not the highest of expectations.
What a great suprise when I had the most entertaining evening, the set and costumes were amazing and the cast were enchanting.
Little Red Riding Hood stole the show and Will Tucket proved himself with this great production.
A must see for me!
- Peter Moxom, Brighton, 22/06/2007 07:47
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I recently saw this production whilst in London and have to agree with most of this review. For me, the show was set off by the cheeky, impish portrayal of red riding hood by Suzanne Toase, a stroke of genius with the northern, down to earth character. I found myself waiting for her next appearance! The baker's wife, the baker, Jack & Cinderella were also good & strong. Overall, a thoroughly engaging evening that left me seeing fairytales in a new light.
- T Ashworth, Chorley, Lancashire, 20/06/2007 12:19
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Very disappointing indeed. Little energy and few stand out performances. Anna Francolini and Beverley Klein were extremely strong, but Clive Rowe and Peter Caulfield made little impact and seemed poorly directed and miscast. It attracted very few laughs - I have seen better amateur productions.
It left me wondering why they did this if they can't muster the funds for a decent set and don't want to cast proper opera singers to make a case for the musical as opera.
- Harriet Ireland, London, 19/06/2007 23:49
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