“Into the Woods” Soars at Conn College

Many a story begins with the magic words “Once upon a time…” This seemingly mundane phrase finds new life onstage in Into the Woods, which played at Tansill Theatre this past weekend. This now-classic Stephen Sondheim and James Lapine collaboration has seen many productions, both regional and professional, in the last decade, leading to what some might call an oversaturation of the material. Thankfully, this Connecticut College production avoids the humdrum, creating an exciting, certifiably fresh presentation of Into the Woods.
Into the Woods showcases a talented ensemble of actors as they embody darker spins on the Brothers Grimm’s classic characters — from Jack and the Beanstalk to Little Red and Cinderella. As the title suggests, the characters go into the woods, where their wishes are granted — though the eventual outcomes are far from what may have been expected.
Ring leading these characters is the Narrator, played by Jacob Rosenbaum ’14, who also doubles as a mysterious man. In many a production of Into the Woods, this role can get lost among the more story-driven characters, but thankfully, Rosenbaum elevates the role to near-perfection. Rosenbaum gives what is by far the standout performance of the show, commanding the audience’s attention with his every move.
Ethan Underhill ’15, who audiences will remember from his fantastic performance of the titular role in last spring’s Bat Boy, plays the Baker. Underhill forgoes some of the character’s traditional nebbish qualities for his own blend of confidence and cluelessness. As always, he brings an incredible emotional quality to his role, especially in his vocal performance; this is most notable in the second act’s big tearjerker “No More.”
Every fairy tale has a villain, though Into the Woods offers a more complex baddie in the form of the Witch. Almost unrecognizable in her witchy garb, Leila Teitelman ’15 once again delivers a performance worthy of accolades. Her dedication to the role is unflinching, as she balances humor, pathos and menace to dive into the complexity of the Witch’s character. Teitelman is a rare case of the performer who can emote better through song than through words alone. Into the Woods supplies Teitelman with ample opportunities to sing, belt and rap, and is a treat for any audience lucky enough to watch.
It is always a joy to see new performers on the Connecticut College stage, and Into the Woods features an impressive six freshmen performers who will surely continue to take the stage in future years. Standing out among the new crop are Dave Socolar ’16, who plays Jack, and Charlotte Weber ’16, who plays Cinderella.
Anyone who has heard Socolar sing can attest to his outstanding abilities as a tenor, but Into the Woods has given him the opportunity to showcase his acting ability as well. Socolar has matured as a performer since last fall’s production of The 25th Annual Putnam County Spelling Bee, no doubt a product of hard work, strong direction and a clearly visible connection to his current role. It’s hard not to feel for Socolar’s Jack, with his mix of naiveté and charm that leaves audiences cheering for more.
Charlotte Weber shows experience beyond her years in her stunning portrayal of Cinderella. While her Connecticut College debut as Juliet in I <3 Juliet showed her skill as a performer, that role lacked the meat needed to reveal her full ability. Thankfully, Weber takes full advantage of the material at hand, delivering a beautiful, varied performance as Cinderella. Her singing voice is strong and enchanting, and her natural personality lends itself to a role that needs just as much grace and beauty as it does comedic timing.
Into the Woods contains fantastic featured and ensemble performers whose musical blend and group camaraderie complement the larger roles tremendously. Among the more memorable featured players is Ashley Pacelli ’15, who doubles as Cinderella’s Stepmother and Little Red’s Grandmother. Her Maleficent-esque Stepmother is played with the perfect level of venom, while her (sadly) short-lived Granny leaves the audience guffawing. Seniors Ryan Foley and Tim Swan give memorable turns as, respectively, Cinderella’s and Rapunzel’s princes, knocking the hilarious “Agony” duet out of the park.
The meta-theatrical world of this production of Into the Woods is due in large part to the work of director Jimmy Maize. Maize brings his own directing style to Into the Woods while maintaining some well-selected staging from James Lapine’s original Broadway direction. The production is by no means revolutionary in its take on the material, but not all shows needs to have some groundbreaking approach. Maize’s direction serves the story well, creating an engaging staging that captivates the audience for the entirety of the two-hour-plus running time — no easy task with any show.
Maize’s direction gives Into the Woods an injection of energy that helps to fuel the material, creating a well-paced presentation. The pacing is further tightened by some smart trimming of what are, truthfully, extraneous moments in the show. With the added lens Maize has placed on the musical, these cuts go almost unnoticed as the removed material is unnecessary for this particular context. Maize uses his actors and space effectively, utilizing dynamic staging that plays well in the three-quarter thrust configuration of Tansill Theater.
Into the Woods is proof of what a musical can accomplish with talented actors, focused direction and strong content. The production is unique, employing both traditional staging techniques alongside flashes of Brechtian technique and other influences. Although the material itself has been somewhat exhausted at this point, the Connecticut College production created an exciting, fun staging that breathed some new life into the show.