Reviews of DMTC's "Into The Woods"

For the first time in two-and-a-half years, the Sacramento Bee (Jim Carnes) came out to review "Into The Woods" (wish we could open a new theater every month, just to catch the Bee's attention!)

In addition, The Davis Enterprise (Bev Sykes) also reviewed the show.

Here are those reviews....
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The Sacramento Bee


Review: 'Woods' needs work, but off to a good start
By Jim Carnes -- Bee Staff Writer

Construction isn't complete - walls haven't been painted, the wood has no finish, the floor is bare concrete, and the water fountain isn't in place - but the Davis Musical Theatre Company couldn't wait any longer and, on Friday night, opened its Hoblit Performing Arts Center with the dark and challenging James Lapine-Stephen Sondheim collaboration, "Into the Woods."

Truth be told, it seemed - a lot like the building itself - still a work in progress, but one with potential. The orchestra, playing in a real sunken pit beneath the stage, sometimes overpowered the frailer voices onstage. A couple of false starts and sour notes by singers didn't help, but, gosh, some of those Sondheim lyrics are complicated and not that easy to sing. The acting was generally very good, though, and the costumes (by Jeannie Henderson) were fairy-tale perfect in looks.

The theater has a contemporary, industrial look. Its 240 seats rise in rows that start at stage level. A metal and wire railing frames the staircase down to the orchestra pit and separates the audience from the stage. It takes a little getting used to. When the action is down front, you look through the railing at the actors' lower extremities. High above the audience hangs the lighting, and exposed ducts carry the heating and air conditioning. During Friday's opening performance, it seemed a little loud when it kicked on.

"Into the Woods" is an intriguing musical that does for fairy tales what others - Anne Sexton in poetry, Della Davidson in dance, among them - have done, and that is interpret them for adults, exploring their cautionary nature through their gruesome, scary, ambiguous elements. These are Grimm fairy tales at their grimmest.

Whereas fairy tales, being for children, end with "happily ever after," these tales - of Cinderella (Rosie Babich) and her prince (Bob Olson); Little Red Riding Hood (Jocelyn Price) and the wolf (Olson again); Rapunzel (Jessica Hammon) and her prince (Ryan Favorite); Jack, of the beanstalk fame (Steven Ross); and a childless baker (Ryan Adame) and his wife (Kristen Wagner) - hit "happily" before intermission. "Ever after" is another matter entirely.

With the help of a narrator (Steve Isaacson, who also portrays the Mysterious Man), "Into the Woods" intertwines all these stories. A witch (Marguerite Morris) who has cursed the baker and his wife with infertility because his father had stolen from her garden years earlier, offers the pair a chance at parenthood - if they can complete a scavenger hunt for items that will remove a curse she is under. They must bring her a cow as white as snow, a cape as red as blood, hair as yellow as corn and a slipper pure as gold.

The pair gathers the items and everyone's wish is granted at the conclusion of Act 1. In Act 2, the admonition of "be careful what you wish for" really comes into play. Sondheim's songs are quite specific to character and plot (which may explain why there are no breakout "hits" from this play), but they are intelligent and often ironic and funny.

This production's best singers, Olson and Favorite, also have one of the best songs, "Agony." "It Takes Two" features a nice duet between Wagner and Adame, who is the most engaging actor among the cast. "No One Is Alone," sung by Babich, Price, Adame and Ross is lovely, as is most of the ensemble work.

About the writer:
The Bee's Jim Carnes can be reached at (916) 321-1130 or jcarnes@sacbee.com
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The Davis Enterprise

'Woods' enchants in its new theater
By Bev Sykes

Enterprise drama critic
Published: November 15, 2005

The smell of fresh paint hovered throughout the building, and places still needed to be painted, stained or carpeted. The curtains had been hung just the night before, and the wrinkles still were falling out of the grand drape. The acoustic designer won't get to work until everything is in place ... but the show must go on, and go on it did.

The Davis Musical Theatre Company selected "Into the Woods" to open its new theater at 607 Pena Drive. Steven Sondheim shows aren't necessarily easy under the best of circumstances, and I fully expected lots of glitches during this particular opening night performance.

I was pleasantly surprised. If glitches occurred, other than a couple of faulty light cues, I was unaware of them. The set, designed by Woodrow & IvyMoss — with its stark, spiky trees for the forest and the traditional wagon sets for Cinderella's home (later the palace); the home of Jack (of Beanstalk fame); and the bakery, where the baker and his wife long for a child — are perfect for the Hoblit stage. And the scene changes from houses to forest are great!

The DMTC orchestra, under the direction of Erik Daniells, now has its own pit; the difference is amazing. I've never heard the music sound better.

Some adjustments will need to be made, as performers learn how to project out over an orchestra, rather than one that was backstage on a platform, as it was for years. Some of the actors handle this change better than others, but most could use a bit more oomph in their delivery.

That said, this is a good production.

Act I weaves together the stories of many familiar tales from our childhood. Cinderella (Rosie Babich) sits at home with her stepmother (Monique McKisson) and two stepsisters (Dannette Vassar and Stacia Truesdale), longing to attend the Prince's ball. Next door, Jack (Steven Ross) and his mother (Jannette Kragen) argue over selling Jack's beloved cow, Milky White (playing herself).

The Baker (Ryan Adame) and his wife (Kristen Wagner) are disappointed that they have not yet conceived a child. Little Red (Jocelyn Price) appears, on her way with goodies for Granny (Melissa Tolley).

DMTC has a solid cast with few weak performers. Those who rise above the rest are Price, whose Little Red is energetic and cute as a button. Babich gives an outstanding performance as Cinderella, as do Adame and Wagner, as the Baker and his wife.

Morris gives her usual first-rate performance. She's at her best while singing, although she needs to project more with her spoken lines.

Melissa Tolley is the offstage voice of the wife of the giant that Jack killed. Sadly, this voice required amplification; it should have sounded more scary.

In Act II we discover that there really is no "happily ever after." Many characters meet horrible ends ... although, for the purposes of this production, they all die gloriously.

Director Jan Isaacson beamed in the lobby after the show ended, saying, "I just can't believe we're finally here." After all this time, she must feel like she's living her own fairy tale.

I fondly hope that DMTC finally has found its "happily ever after": one that can be enjoyed for years to come.

Call 756-3682 for show information.
Copyright, 2005, The Davis Enterprise. All Rights Reserved.