Review: Drayton Entertainment's INTO THE WOODS is Pure Magic

This month, tucked away in the heart of Waterloo’s St. Jacob’s Market District, is a bewitching theatrical experience that is bound to spring up in conversation as rapidly and dramatically as a magical beanstalk might spring up in a backyard. INTO THE WOODS is currently playing at Drayton Entertainment’s St. Jacob’s Country Playhouse in Waterloo. Boasting a cast of Canada’s top musical theatre talent, it is an embarrassment of riches that is not to be missed.

With Music and Lyrics by Stephen Sondheim and Book by James Lapine, INTO THE WOODS is oft considered to be one of Sondheim’s most accessible musicals. It brings to life familiar fairy tales and then deconstructs them to explore complex yet relatable human experiences such as grief, loss, and betrayal. The stories of Cinderella, Jack and the Beanstalk, Little Red Riding Hood, and Rapunzel are cleverly woven together via two original characters – the Baker and the Baker’s wife - who desperately want a child and discover they have been unsuccessful due to a Witch’s curse.

Even audience members who aren’t avid fairytale or musical theatre fans will appreciate the sort of ‘avengers assemble’ moment of mashing together these well known characters and stories. What’s even more exciting about this production is the ‘avengers assemble’ moment that is the utterly iconic company of actors who have come together for this superb production.

Robert Markus and Kaylee Harwood are wonderful as the Baker and Baker’s Wife – in many ways the heart and anchor of this musical.

Harwood’s Baker’s Wife is ambitious, determined, clever, and spunky. In Act I, she knows exactly what she wants and will not give up until she gets it. In Act 2, she’s questioning everything and seeking something more, but the determination never wavers. Her Moments in the Woods is meaningful and moving. Strong, yet flawed, the Baker’s Wife is the driving pulse of the show and Harwood’s performance is sublime.

Markus’ Baker is an ordinary guy lacking the confidence and self-assuredness that his wife naturally has. As the story progresses, he begins to find his confidence. His journey to self-actualization is not an entirely linear one however. Like real people, these characters are imperfect. Markus beautifully captures the Baker's vulnerability and fear.

Harwood and Markus each shine independently but they are also great as a pair. They sound wonderful together during It Takes Two. Both performers do well to flesh out these characters and have us rooting for them, warts and all.

The Baker and Baker’s Wife first find themselves in the Woods as they set out to obtain four items – each belonging to a different fairy tale – to help break a generational curse brought on by the Witch.

As the Witch, Kristen Peace is a force of nature. Between the fast-paced rap of the Witch’s Entrance and the showstopping After Midnight, Peace’s vocal prowess is on full display. The specificity she brings and the choices she makes allow for a fascinating and captivating portrayal. The humour she immediately infuses into Act 1 sets a playful tone for the entire show that works well to keep every audience member under her spell.

Danielle Wade makes a triumphant return to Drayton Entertainment as Cinderella – another character who experiences a great deal of growth throughout the course of the show. Timid and gentle at first, Cinderella’s bravery begins to shine through as she grows into her own autonomy. This character’s ability to stand up for herself but still show enormous grace towards others highlights the good-hearted nature of the beloved character. Wade’s portrayal of Cinderella’s internal discovery is beautiful.

Joema Frith is great as young, naive Jack. His love for his cow Milky White instantly endears the audience to both Jack and Milky White. The journey he takes us on in his rendition of Giants in the Sky is moving and profound.

Glynis Ranney is also excellent as Jack’s mother – a protective, working class ‘every mom’ of sorts.

James Daly pulls double duty as The Wolf and as Cinderella’s Prince. He is hilarious as both but his devilish wolf is nothing short of perfection. A friend who accompanied me to this production commented that every single movement is ingeniously executed.

Daly and Michael Vanhevel (who is hilarious as Rapunzel’s Prince) have the audience in hysterics – and as an added bonus, essentially create a well-rounded workout routine - with their absolutely psychotic (complimentary) rendition of Agony. In addition to his fun duets with Vanhevel, Daly also has some fun scenes and excellent chemistry with both Wade and Harwood.

Equally as hilarious is Julia Pulo’s take on Little Red Riding Hood – finding more moments of comedy in the character’s youthful ignorance and quirky disposition than what is even on the page.

Randy Hughson is charming as our Narrator and the ‘Mysterious Man’ who seems to keep popping up to help the Baker on his journey; As Rapunzel, Emma Vickers brings a beautiful soprano voice and an ability to portray the complex developmental trauma of her character in the limited scenes she has. Nicola-Dawn Brook, Annelise Forbes, and Hadley Mustakas are delightfully ridiculous as Cinderella’s stepmother and step siblings, and Aaron Walpole and Tyler Check are both standouts as Cinderella’s father and the Steward.

The entire cast is stellar. They are a cohesive unit tonally, and they sound fantastic both individually and in the numerous wonderful ensemble numbers in this piece.

What makes this show special is that it does not shy away from its silly humour or its complicated exploration of humanity and life. It fully embraces both. Characters in this musical experience devastating loss. They are flawed. They learn things, but not all live to put what they’ve learned into action. Some don’t get to tell the ending of their own stories. We as an audience grow attached to characters and relationships only to see them disappear in an instant. The stories in front of us somehow simultaneous do and don’t get wrapped up in a cute little bow – they all get resolved, but not how we expect them to and not without a cost. Just like in real life. This is the type of show that will mean something different to different people at different moments in their lives.

Music Director Nico Rhodes and his mighty 5-piece band do wonders to bring Sondheim’s complex and gorgeous music to life. This is challenging music to sing, especially considering how much Director and Choreographer David Connelly has everyone moving. This cast accepts this challenge and excels.

This production also boasts some very creative design. Set Designer Ryan Howell, Projection Designer Greg Emetaz, Lighting Designer Kevin Fraser, and Sound Designer Allan McMillan do an exceptional job at transporting the audience into the magical woods. The cleverness doesn't stop there however. To name a few effects and props that worked incredibly well - The shadowy Giant is appropriately scary, Milky White is brilliantly made of papier-mâchéd milk cartons and jugs; parasols efficiently become wagon wheels, and the design of Little Red’s grandmother’s bed allows for additional comedic beats with the Wolf.

There is so much to take in with this production and so many outstanding performances that it is definitely worth seeing twice!

INTO THE WOODS continues at the St. Jacobs Country Playhouse until October 25th.

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