Kimmi Johnson (far left), Jeni Hacker, Melissa Whitworth, and Ben Liebert in Slow Burn Theatre's "Into the Woods" at the Broward Performing Arts Center. (Photo by Larry Marano)
If you missed the most recent triumphant Broadway revival of “Into the Woods,” and didn’t catch it on tour, don’t fret. Fortunately for South Florida theater fans, Ft. Lauderdale’s Slow Burn Theatre Company is staging its own winning version of this complex musical about the choices we make, the responsibilities we share, and the consequences we must face as the result of our actions.
Truly, like most productions that Slow Burn produces, this one is Broadway touring caliber.
The professional, nonprofit company’s visually appealing and emotionally rich production of Stephen Sondheim and James Lapine’s 1987 Broadway musical involving fairy tales runs through Sunday, Oct. 29 in the Broward Center for the Performing Arts’ Amaturo Theater. The running time, including a 20-minute intermission, is roughly three hours.
Clearly, under director and choreographer Patrick Fitzwater’s skilled guidance, nearly 20 triple threat performers disappear into their characters. In fact, the actors and behind the scenes artists work together like champions to bring Fitzwater’s vision to vivid life.
“Into the Woods” is a difficult piece to pull off. For starters, the late, legendary Sondheim’s intricate harmonies and clever but challenging solos provide a tough test for even the most seasoned and talented performers. Fortunately, Slow Burn’s cast aces this test with flying colors. Altogether, it delivers a poignant production filled with nuance, humor, and pathos. Impressively, while Fitzwater and Co. emphasize the show’s humor, they don’t neglect the darkness that this show demands.
Slow Burn Theatre's "Into the Woods" is at the Amaturo Theater of the Broward Center for the Performing Arts through Sunday, Oct. 29. (Photo by Larry Marano)
“Into the Woods” intertwines the plots of several Brothers Grimm fairy tales, exploring the consequences of the characters’ wishes and quests. Sondheim and Lapine took the main characters from such beloved tales as “Little Red Riding Hood,” “Jack and the Beanstalk,” “Rapunzel,” and “Cinderella.” A story involving a childless baker and his wife ties the musical together. The couple yearns to begin a family. However, a witch has placed a curse on them, so they may not be able to have children. In addition, other characters may not get their wishes granted.
The mostly bright and bouncy first act makes this enchanting musical seem like the perfect experience for all ages. Indeed, it features fairy tale characters and the show’s first words are “Once upon a time.” Moreover, the story seems headed for an “all lived happily ever after” ending.
But “Into the Woods” is not a show for small children. Rather, it is a mature, dark, highly symbolic, and cautionary show. It forces us to realize that we humans can be impulsive, selfish, greedy, and quick to blame others for problems that arise. Further, we don’t always stop and realize that our actions come with consequences.
Luis-Pablo Garcia and Patti Gardner in Slown Burn Theatre's "Into the Woods." Center. (Photo by Larry Marano)
During a time of war, plague, finger pointing, and fierce division, we need a show such as “Into the Woods” to remind us about the importance of uniting and working together to solve problems society faces.
In addition to being a cautionary show, “Into the Woods” is a reassuring musical about how, truly, no one is alone. While there are times when we find ourselves “in the woods,” we can support and uplift each other during these bleak times.
The musical centers, in part, on the disconnect and tense relationships between parents and children. We see this, for instance, in the frustration of Jack’s mother. The character is exasperated at her son’s immaturity and sense of adventure. It eventually gets him, and the community, into trouble.
Veteran actress Patti Gardner as Jack’s mother portrays her with palpable frustration, weariness, and exasperation, and, at times, a tad stern.
Ralph Meitzler, Beth Dimon, and Ben Liebert in Slow Burn Theatre's production of the musical "Into the Woods."
Luis-Pablo Garcia imbues Jack with an awkwardness that seems appropriate for a young man navigating his teenage years. The young actor also nails Jack’s solo, “Giants in the Sky.” Specifically, Garcia infuses the number with wide-eyed wonder and awe as he sings about his discovery. In addition, Garcia makes Jack’s devotion to his cow, Milky White, touching and believable (Aaron Atkinson ably operates Milky White as a puppet).
The wolf (a sly Ralph Meitzler) is part of Little Red Riding Hood’s journey from a happy, carefree, innocent, dutiful granddaughter to a more aware young woman. In the song, “I Know Things Now,” the implication is that the wolf has made her sexually aware. Slow Burn’s production, however, chooses to downplay that notion.
As Little Red Riding Hood, Giselle Watts undergoes a seamless transformation from a happy-go-lucky young girl to a more mature, worldly, and weary young woman who must contend with real life.
As another young woman, Mikayla Cohen’s Rapunzel sings sweetly. In addition, Cohen believably portrays her as an emotionally hurting, sheltered young woman who aches to experience the outside world.
But the witch (a phenomenal Jeni Hacker) has kept Rapunzel away from the outside world because the older woman feared it would corrupt her.
Speaking of the witch, Hacker gives her an evil laugh and surrounds her in a cunning air. But Hacker’s old hag is less Wicked Witch of the West than a troubled, wounded woman bearing the weight of a curse placed upon her. In addition to meanness and sarcasm, Hacker conveys a relatable vulnerability and sensitivity that fleshes out the witch’s character.
Two other strong performers are Ben Liebert as the Baker and Melissa Whitworth as the Baker’s wife. Together, they demonstrate strong chemistry and succeed individually in their roles. As the Baker, Liebert makes an impressive transformation from a determined and nervous individual to a mature father providing tender and loving care to his baby. In fact, Liebert spills real tears during the latter scenes with his child. Meanwhile, Whitworth succeeds as a dutiful spouse.
Kimmi Johnson Grimes is radiant and dreamy as Cinderella, and Jinon Deeb mercilessly mocks the character as Cinderella’s Stepmother.
Matthew W. Korinko shines as the narrator, lending the character a polished air. The narrator sets the musical’s tone by speaking the all-important first words of “Once upon a time,” and Korinko says with proper enthusiasm and a flourish. Also, Korinko lends an endearing eccentricity to the role of “Mysterious Man.”
Giselle Watts and Ralph Meitzler in Slow Burn Theatre's "Into the Woods." (Photo by Larry Marano)
Meanwhile, Meitzler and Sergi Robles lend a dashing quality to the roles of the two princes. And you sense the characters’ frustrations during the song, “Agony.”
Undoubtedly, the always entertaining Elizabeth Dimon strikes fear into others’ hearts as the female Giant, speaking in a thunderous, otherworldly voice as the large, angry woman.
Singing seems as natural as breathing for these talented performers. They possess strong, expressive voices and display deft range. Also, they handle Sondheim’s tricky, intricate lyrics and harmonies with the ease of someone having a routine conversation. The performers also execute the physical choreography with flair.
Under music director James Mablin, a vibrant-sounding live orchestra accompanies the performers and provides dramatic underscoring when necessary.
In addition to deftly directing and choreographing, Fitzwater designed foreboding and bone chilling sound effects.
Set designer Kelly Tighe dots his multi-level set with realistic-looking trees which partly obscure a moonlit sky. The storybook set’s vastness reinforces the woods’ intimidating quality.
Clifford Spulock’s lighting (Stevie Bleich is the assistant lighting designer) establishes an otherworldly aura with a diverse color palette that includes red to stand for blood and danger. The intense lighting, combined with thick fog, lends the proceedings a sense of mystery and drama. At times, the fog is so thick around the audience seating area that more than a few patrons seemed uncomfortable during the reviewed performance, as though thick smoke were in their midst. While the lighting focuses the performers, at times it does not fully illuminate the narrator until after he starts speaking.
Also, behind the scenes, Rick Pena designed the costumes. Some of them shimmer, while they all nicely define character.
Some critics of Sondheim (1930-2021), one of the greatest composers/lyricists ever, say his songs are grating and unmemorable without hummable melodies. However, the sophisticated and clever Sondheim has proven those accusers wrong. Listen to the bouncy, upbeat title song and the wonder-filled “Giants in the Sky.” You will struggle to keep the melodies out of your mind (not that you’d want to). Songs that are not necessarily memorable but effective include the jarring “Last Midnight” which the witch sings during a particularly dark portion of the musical.
Slow Burn Theatre Company, which has won numerous awards for its productions, would have made the master proud with this must-see production of “Into the Woods.”
Slow Burn Theatre Company’s production of “Into the Woods” runs through Oct. 29 at the Broward Center’s Amaturo Theater, 201 S.W. 5th Ave. in Ft. Lauderdale. Performances are at 7:30 p.m. Thursday through Saturday, 1 p.m. Saturday, and 2 p.m. Sunday. There will be an open captioned performance at 2 p.m. Sunday, Oct. 22. Tickets start at $54. Call (954) 462-0222, or go to www.browardcenter.org. Also, for more information, go to www.slowburntheatre.org.
