Review: THE WOODSMAN at Barbershop Theatre

Even if you’ve never seen The Wizard of Oz, you are probably familiar with the tale of Dorothy and her three friends (and her little dog, too). Who could forget the Scarecrow, the Tin Woodsman, and the Cowardly Lion? Thanks to Wicked, we get backstories for the three characters. However, there is one character who actually gets a concrete backstory in the original Oz novel; the Tin Woodsman. So, what exactly happened to that guy? Street Theatre Company transforms the Barbershop Theatre into the Merry Old Land of Oz in their production of James Ortiz’s The Woodsman. With impressive puppetry and very little dialogue, the show explains how a man full of love becomes a heartless hunk of junk. Running August 14-29 at the Barbershop Theatre, Street Theatre Company’s The Woodsman is full of heart.

I’ve seen countless productions by Street Theatre, and the scenic designs have always impressed me in the tiny space of Barbershop Theatre. I thought that Garner Harsh outdid himself with the scenic design for The View UpStairs, but this was another level. In fact, this might just be my favorite set design from the company so far. I mean, he and Scenic Assistant Elizabeth Burrow added realistic-looking fake trees and a load of mulch to the set. The fabrics and lanterns hanging from the ceiling were a nice touch, especially when it came to the scenes in the woods. Elevating the set is Carly Crocker’s lighting design, which is beautiful and haunting. I know that the show is mainly set in the woods, but the ceiling fabric and the lighting in one scene made me think of lighting in a cave. I can’t explain why that is, but I liked it. Properties Designer Lauren Yawn and assistant Sarah Levis provided extensive attention to details in the props. While there is no confirmed time period in the fictional world of Oz, everything seems to be from either the late 19th or early 20th century, and the props fit perfectly with the time period. Speaking of sticking to the time period, Costume Designer Melissa Durmon and assistant Evin Baylis Jr. (who slayed in The View UpStairs) provided costumes that wouldn’t feel too out of place in a romantic period piece. Every costume was impressive, but my favorite has got to be Meg Harkins’s costume in the role of Nimmee. I mean, there are so many colors and patterns in that skirt, and I couldn’t stop looking at it. And of course, I need to highlight Joi Ware’s choreography. I’m always impressed by choreographed shows in tiny spaces, and this one was done on top of a thick layer of mulch. Incredible. 

There might not be a wizard in this show (that we see onstage, that is), but there is a “wizard” keeping the show together. Not only did Jonah M. Jackson carefully navigate his cast as the director, but he and Brian Hull also designed the magnificent puppets. From the different witch puppets to the titular character’s final form, everything is a work of art that belongs in a museum. I especially liked how I could tell what some of the Tin Woodsman’s parts were made from, showing how creative people can take something so simple and make it magical. Jackson weaves the magic of Oz within fabrics of folklore to give us a story worth telling. Shout out to Stage Manager Rachel Rinehart and Assistant Stage Manager Sarah Johnson for keeping everything together, as well as Producer and Music Director Randy Craft for simply being the best. 

They say that it takes a village, and The Woodsman has quite the village of an ensemble cast keeping the show afloat. Everyone had something to do onstage, whether they were reacting in the background, moving set pieces, or making sound effects. The ensemble consisted of Michael Walley, Kyla Ledes, Nikki Bella, Matthew Hayes Hunter, David Lin, Eve Petty, Jasmine Taylor, and Jude Williams. Everyone brought something unique to the table, whether they collaborated with each other or had their individual moments in the spotlight. David Lin had to stay onstage and play the violin the whole time, and he managed to keep a consistent flow going as he navigated through the actors and set pieces. Michael Walley and Kyla Ledes had wonderful chemistry in their brief scenes as Nick Chopper’s parents. I liked how well Jude Williams and Eve Petty worked together in their scenes, especially when they had to control a puppet as if they were one person. Matthew Hayes Hunter had an excellent cackle as he guided one of the witch puppets towards the audience. Nikki Bella and Jasmine Taylor were very collaborative with the others, and they were on beat with the sound effects and their vocals. All in all, this village stayed together.

Although the last two actors on the cast list also acted as part of the ensemble in select scenes, they were undoubtedly the leads. Meg Harkins was so enchanting as Nimmee, servant and prisoner to the Wicked Witch of the East and love interest to Nick Chopper. Her chemistry with Payton Justice was a highlight of the entire show, and her physical acting was so magnetic. I just couldn’t get enough of her dance-like body language and facial expressions. And of course, she had my favorite costume, and she knew how to work it. And last but not least, we have Payton Justice as Nick Chopper, the titular Woodsman. I have seen Justice in previous Street Theatre productions like The View UpStairs and Thankskilling the Musical, but this was my first time viewing him as the leading man. I was blown away by his charisma as the romantic lead, and he blended in with the rest of the cast just as well as he could shine in his own spotlight. His performance was funny, heartbreaking, and beautiful. Every cast member made up a single body, and Justice was the heart of it all. 

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