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HomeOperaAnnapolis Opera brings to life an exhilarating 'Into the Woods'

Annapolis Opera brings to life an exhilarating ‘Into the Woods’


Annapolis Opera’s manufacturing of Into the Woods is an emotionally thrilling night of wonderful music and singing, mixed with artistic lighting, surroundings, and sound results. Directed by Dean Anthony, with Craig Kier conducting the Annapolis Symphony Orchestra, Stephen Sondheim’s musical about fairy tales and the unexpected prices of needs involves life in Maryland Corridor for the Inventive Arts’ Important Theater.

Patrick Kilbride performs the Baker with an emotional honesty, an atypical man making an attempt to do his finest within the face of curses, magic beans, and giants. Colleen Daly brings a practicality to his Spouse, keen to commerce beans for Jack’s (Matthew Hill) cow to assist fulfill the magic potion, in opposition to Kilbride’s objections. Their duet “It Takes Two” is a beautiful reconciliation, bringing them collectively to perform their want. “No Extra” is Kilbride’s strongest efficiency, with unhappiness and exhaustion resulting in dedication. Daly’s strongest efficiency is in “Moments within the Woods,” crammed with shock and pleasure earlier than tragedy strikes.

Kylee Hope Geraci as Little Pink Using Hood and Paul La Rosa because the Wolf in ‘Into the Woods.’ Photograph by Michael C. Halbig.

Matthew Hill performs Jack with a joyful exuberance, permitting for nice comedy. He sings a tearful farewell to his cow in “I Guess This Is Goodbye.” Climbing up a large beanstalk, he offers pleasure at a brand new journey in “Giants within the Sky.” Diana Dimarzio performs Jack’s Mom with an immense practicality and wish, upset at his buying and selling the cow for “magic beans.”

Emma Grimsley offers a deep loneliness to Cinderella, filling “Cinderella on the Grave” with longing, as her Mom “Jesse Mashburn” sings comfortingly. In “A Very Good Prince” she sings ambivalently of her want in sight, whereas in “On the Steps of the Palace” she wonders if that is certainly what she actually desires. Her later spoken scene along with her Prince (Paul La Rosa) is deeply shifting.

Natasha Ramirez Farr as Cinderella’s Stepmother and Patricia Hengen and Erin Ridge as her stepsisters are deliciously depraved, with nice comedian timing as they attempt to match into the glass slippers and their punishment for tormenting Cinderella.

Kylee Hope Geraci performs Little Pink Using Hood with an innocence at first, then turning to cheerful dedication, pulling out a comically giant switchblade at each alternative. In “I Know Issues Now” she joyously reveals her newfound expertise.

Paul La Rosa has a deep, wealthy, seductive voice that hides hassle. Because the Wolf, he offers “Howdy, Little Lady” an animal ardour, howling on the finish. As Cinderella’s Prince, he infuses his traces with comedian drama. Brandon Lockhart does a lot the identical as Rapunzel’s Prince. La Rosa and Lockhart’s duet, “Agony,” is hilarious in describing their romantic troubles.

Matthew Hill as Jack and Colleen Daly because the Baker’s Spouse; Denique Isaac as Rapunzel in ‘Into the Woods.’ Photographs by Michael C. Halbig.

Denique Isaac has a wonderful voice as Rapunzel. She sings operatically all through Act One whereas weeping dramatically in Act Two. Her spoken scene with the Witch (Arianna Zukerman) is deeply emotional, revealing a depth of feeling.

Arianna Zuckerman brings a complexity to the Witch. “Stick with Me” is stuffed with longing and emotion for Rapunzel, in between her dragging the beautifully-haired lady throughout the stage. She dominates the stage in “Final Midnight” reflecting on the not possible ethical decisions the others are unwilling to make.

Dean Anthony offers vigorous power because the Narrator, introducing the story and offering useful transitions throughout scene modifications. Because the Mysterious Man, he’s gruff and enigmatic, providing shocking revelations to Jack and the Baker. In “No Extra” he reveals a depth and love beforehand unseen.

The solid of ‘Into the Woods.’ Photograph by Michael C. Halbig.

The set, by StageCraft Theatricals, is cleverly cellular, with three small backdrops for Cinderella, Jack, and The Baker’s properties, every totally different sufficient to be instantly recognizable. Rolling platforms serve for Cinderella’s Mom’s statue and Rapunzel’s tower. The Narrator sits in a snug crimson chair simply past the stage, a small lectern in entrance of him. The woods are tinged with inexperienced and hints of classical buildings.

Costume Designer Glenn Avery Breed has created outfits that assist distinguish the big solid of characters. The Baker is in brown tones, whereas Jack is in greens. Cinderella begins in rags earlier than becoming an attractive white robe and later a yellow costume, whereas her stepmother and stepsisters are in elegant clothes of pinks, blues, and greens. The Witch begins in ragged furs earlier than reworking to a glittery darkish robe. Little Pink Using Hood is dressed all in crimson, from her well-known cloak to a skirt and socks, other than a grey fur scarf. The Wolf wears a plaid jacket and boots over a furry costume. Wig and Make-up Designer Priscilla Bruce helps maintain the characters colourful and distinguished, together with Rapunzel’s locks.

Lighting Designer Christopher Brusberg makes use of mild to reinforce the dramatic results. A crimson mild bathes the stage when the Wolf speaks with Pink Using Hood. Cinderella’s Mom is solid in inexperienced mild, making her seem supernatural. The Witch’s magic feats are accompanied by twinkling lights. Director Dean Anthony makes use of Music Theater Worldwide’s sound cues to announce Act Two’s huge unhealthy with deep rumbling and strolling sounds, amongst different results.

Craig Kier conducts the Annapolis Symphony Orchestra with nice power and a spotlight. At instances, the music overwhelms the singing, making it obscure Sondheim’s intelligent lyrics. Dean Anthony does an exquisite job as director. The singers navigate the stage and one another completely, with a lot of motion. They seize the emotional vary of the songs and the story, from comedy to heartbreak; “No One Is Alone” is especially shifting. The final efficiency is the matinee Sunday, March 20; make sure you catch it if you wish to discover out what occurs “Ever After”!

Working Time: Roughly 3 hours, together with a 20-minute intermission.

Into the Woods performs via March 20, 2022, introduced by Annapolis Opera acting at Maryland Corridor for the Inventive Arts – 901 Chase Avenue in Annapolis, MD. For tickets ($28–$100), name the field workplace at 410-280-5640 or buy on-line.

The Into the Woods playbill is on-line right here.

Annapolis Opera’s COVID Security Coverage is right here.

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