17 August – 10 September
Terry Gilliam and Leah Hausman’s vivid and playful depiction of James Lapine’s story of colliding fairy tales, expanded eloquently by Stephen Sondheim’s score and lyrics, explores the moral consequences of life beyond a happy-ever-after ending. In this colourful and dream-like depiction of the fates of Rapunzel, Red Riding Hood, Cinderella and Jack of Beanstalk fame, we travel to a murkier place where not everything works out quite as expected and where happiness can be reined in by moral choices or character defect. The ‘woods’ – a metaphorical place we learned in our childhoods to fear as a place we could become lost or threatened in – engulfs our fairy tale folk as they struggle to fulfil their inner wishes.
Our story follows a baker and his wife who have been cursed by a witch. If they are to have a child they must fulfil her demands for a blood-red cape, a white cow, a golden slipper and hair as yellow as corn. The woods beckon. Meanwhile Jack’s mother is at her wits end to make ends meet, Red Riding Hood wants to visit her Gran, Cinderella dreams of going to the ball and Rapunzel wants out of her tower. This odd bunch will later find themselves in an unlikely allegiance as they tackle the common threat of a giant.
Designer Jon Bausor’s marvellous moving forest, teapot cottage, tower of bean cans, giant swinging clock and speaking flower, provide a memorable backcloth that leads up to the impressive entrance of the giant’s wife stamping her feet as she seeks revenge for the death of her larger than life other half (there are echoes here from Gilliam’s work for Monty Python – steampunk-like objects swinging in – a stomping foot etc). Suddenly the death count mounts up and what was a sylvan idyll is transformed into a place of sorrow and fear, betrayal and regret.
While the production values are off the scale, the play is also blessed with artful and atmospheric lighting by Mark Henderson and a 10-piece orchestra that weaves Sondheim’s intricate lines impeccably, especially expressive in the woodwind section.
There are stand-out performances across the cast, and all possessed impressive singing voices. Henry Jenkinson as the Cinderella’s prince and Nathanael Campbell as Rapunzel’s prince had enormous fun with their roles, ‘raised to be charming, not sincere’ lovers – their rendition of ‘Agony’ a humorous highlight.
Catching the eye in particular, Julian Bleach’s Mysterious Man brought a delectably dark undertaker’s menace to the proceedings, while Nicola Hughes’ witch seethed with palpable venom. Lauren Conroy as Red Riding Hood, Audrey Brisson as Cinderella and Alex Young as the baker’s wife were sharp as they subverted traditional roles. Almost stealing the show, Faith Prendergast’s depiction of Jack’s cow Milky White was a delight.
★★★★☆ Simon Bishop, 26th August, 2022
Photo credit: Marc Brenner
