By VERDA MACKAY - Chico E-R, The Buzz
The Brothers Grimm favorite classic fairy tales are rolled into a wonderful musical full of intrigue, danger and enchantment with "Into the Woods Jr.," which premiered last week at Chico Theater Company. Stephen Sondheim wrote the music and lyrics for "Into the Woods," which debuted on Broadway in 1987. The one-act "Into the Woods Jr." has been adapted and shortened for young performers. The sophisticated score is easier for youthful voices.
Directed by Bob Maness, produced by Marc Edson, with music direction by Jim White and choreography by Kate Reeves, "Into the Woods Jr." features the Chico Theater Company "Rising Stars." This special program offers aspiring young actors the chance to experience theater arts through classes and special productions.
The large cast of characters, with ages from 10 to 18, has been rehearsing since last September to make this production memorable. Although they may not fully understand it, even small children will enjoy the dynamic action, exciting costumes and music of this show.
Storybook characters are mixed into the plot involving them all and requiring a narrator (Colin Allen) to keep it together. He tells of their special wishes. Cinderella (Jessica Mosbarger) wants to go to the King's Festival. The Baker (Daniel Tuccillo) and his wife (Leandra McNeal) wish for a child.
Jack (Joshua Maness) wishes his milky-white cow would give milk. His mother (Abigail Clark) makes him sell his cow and is angry when he only gets some beans. Little Red Riding Hood (Jillian Goddard) is off into the woods to visit her sick grandmother (Lindy Edstrom).
A mysterious man (Caleb Calkins) moves about the woods offering advice to those who won't listen. An evil witch (Makenzie White) casts spells, and a hungry wolf (Alex Van Patten) devours Red Riding Hood and her grandmother.
Rapunzel (Gia Giambalvo) is kept captive in a high tower by the wicked witch. She lets down her long, golden hair as a ladder for her prince (Kevin White) to rescue her. His brother, who is Cinderella's prince (Brandon Morgan), bounds about with a golden shoe looking for his true love whose foot will fit the slipper.
The large cast also includes David Clark, Sierra Hall, Mandi Ranalla, Bethany Morgan, Aly Denlay and Adam Maness. As the witch, Makenzie White stole the show with her shrill voice, small humpbacked stature, jerky movements and cackling laugh.
An exceptionally funny scene was performed by Brandon Morgan and Kevin White as the two princes. They postured around the stage in slapstick style while singing "Agony."
While none of the songs were memorable, an exception was the title song, "Into the Woods," sung by the entire company in grand finale, and the full-house audience gave a standing ovation.
Guys and Dolls (Sept. 11 to Oct. 10)
By Destiny Noel
Guys and Dolls is a story of the many gambles in New York City during the 1940s. Overall, the show was very well thought out and detailed; from the sets to the costumes to the scene changes. I couldn’t see how director Bob Maness could have done better.
The plot was rather complex, but it boiled down to be that Nathan Detroit (played by Andy Dutch), a well known leader of a gambling ring, needs money to pay for a game location. The bad news is he doesn’t have it, so he makes a “fixed” bet with well known gambler Sky Masterson (played by Evan Allen). The bet for a thousand dollars is that Sky can’t take missionary Sarah Brown (played by Kristen Williams) to Havana with him… And so the plot ensues.
Right away actor Jacob Carr, who plays Nathan’s henchmen Nicely-Nicely Johnson, stole the show. He played his character seamlessly, no pauses, no mess-ups, nothing caught him off guard. He hit everything spot on: a consistent New York accent, an apparently confident stature, and great of portrayal a glutinous gambler. That was just the icing on the cake; Nathan’s Fiancée Adelaide (played by Andrea Petree), a singer and dancer at a club, kept an extremely nasally voice and Bronx accent for the majority of the show. Unfortunately it was a little off and on, especially in her musical numbers, but Petree still pulled it off well. Also, a few of the unnamed extras shone, for example actress Makenzie White (whose character sold newspapers) was able to be convincing in every scene in which she appeared without so much as a word.
Other great acting was found in the many less prominent gamblers. These roles were very physically demanding, thanks to choreography by Kate Reeves, and each gambler was able to flip over, sing and sound good at the same time. The rest of the choreography was very well put together and smooth, accept for the opening scene which was a little choppy. An especially impressive aspect was that most of the dances in show matched those you might have seen in the 1940s.
The costumes were also historically accurate for the most part. Although there were a few pairs of tennis shoes used as dress shoes, generally the costumes were well thought out with attention to detail. Costumes were specific down to matching ties, vests and suspenders. The costumes which actors wore throughout the show matched their characters; a singer at a club wearing many different questionable outfits, a kid who sells newspapers in short overalls and a big tycoon always wearing a gun belt.
The props and sets were simply designed yet effective to carry out their purpose. The props were another element that yet again was very detailed; such as a newspaper stand with magazines dated 1947, 1941and 1938 even though it was unlikely anyone would be looking at them. The money that the gamblers carried everywhere was another example, from the back each bill looked real (with the exception of different shades of green), but on the front were pictures of the major gamblers in the show.
The sets were very fitting to the scenes, a city backdrop quite obviously New York City, a basic nightclub and a sewer set, but they were not necessarily durable. There were a few instances were a pipe fell, a prop or two slid off a table, a set piece shook on contact etc. There were also a few set pieces that were difficult to maneuver around; that a character had difficulty stepping over it, and other minor things. The good thing was that set changes were very smooth; no pauses or false closings or openings of the curtains. However the transitions were a bit loud.
The different sets were well complimented by the lighting. Again not extravagant, but it worked. The lighting was done is such a way that not very many spotlights were needed; mostly white and blue full stage lights were used. This did made your attention drift off the main part of the scene though.
The music was also well done, the different harmonies throughout the show was spot on. There were very few missed notes, but the actors stayed true to character even in song.
Through out this show I think the thing that made it a success was consistency. The accents were continually the same throughout the show. Each character was consistently seen in the same type of costume. The timing and rhythm was consistent, no long pauses and no times of speed. Thanks to the timing, particularly comedic, the audience was able to laugh, applaud and gasp as a group.
I think that overall the show was a success. There were a few little details that were off, but it could have been that I went to the second night. To the cast and crew… A job well done!
Guys and Dolls is a story of the many gambles in New York City during the 1940s. Overall, the show was very well thought out and detailed; from the sets to the costumes to the scene changes. I couldn’t see how director Bob Maness could have done better.
The plot was rather complex, but it boiled down to be that Nathan Detroit (played by Andy Dutch), a well known leader of a gambling ring, needs money to pay for a game location. The bad news is he doesn’t have it, so he makes a “fixed” bet with well known gambler Sky Masterson (played by Evan Allen). The bet for a thousand dollars is that Sky can’t take missionary Sarah Brown (played by Kristen Williams) to Havana with him… And so the plot ensues.
Right away actor Jacob Carr, who plays Nathan’s henchmen Nicely-Nicely Johnson, stole the show. He played his character seamlessly, no pauses, no mess-ups, nothing caught him off guard. He hit everything spot on: a consistent New York accent, an apparently confident stature, and great of portrayal a glutinous gambler. That was just the icing on the cake; Nathan’s Fiancée Adelaide (played by Andrea Petree), a singer and dancer at a club, kept an extremely nasally voice and Bronx accent for the majority of the show. Unfortunately it was a little off and on, especially in her musical numbers, but Petree still pulled it off well. Also, a few of the unnamed extras shone, for example actress Makenzie White (whose character sold newspapers) was able to be convincing in every scene in which she appeared without so much as a word.
Other great acting was found in the many less prominent gamblers. These roles were very physically demanding, thanks to choreography by Kate Reeves, and each gambler was able to flip over, sing and sound good at the same time. The rest of the choreography was very well put together and smooth, accept for the opening scene which was a little choppy. An especially impressive aspect was that most of the dances in show matched those you might have seen in the 1940s.
The costumes were also historically accurate for the most part. Although there were a few pairs of tennis shoes used as dress shoes, generally the costumes were well thought out with attention to detail. Costumes were specific down to matching ties, vests and suspenders. The costumes which actors wore throughout the show matched their characters; a singer at a club wearing many different questionable outfits, a kid who sells newspapers in short overalls and a big tycoon always wearing a gun belt.
The props and sets were simply designed yet effective to carry out their purpose. The props were another element that yet again was very detailed; such as a newspaper stand with magazines dated 1947, 1941and 1938 even though it was unlikely anyone would be looking at them. The money that the gamblers carried everywhere was another example, from the back each bill looked real (with the exception of different shades of green), but on the front were pictures of the major gamblers in the show.
The sets were very fitting to the scenes, a city backdrop quite obviously New York City, a basic nightclub and a sewer set, but they were not necessarily durable. There were a few instances were a pipe fell, a prop or two slid off a table, a set piece shook on contact etc. There were also a few set pieces that were difficult to maneuver around; that a character had difficulty stepping over it, and other minor things. The good thing was that set changes were very smooth; no pauses or false closings or openings of the curtains. However the transitions were a bit loud.
The different sets were well complimented by the lighting. Again not extravagant, but it worked. The lighting was done is such a way that not very many spotlights were needed; mostly white and blue full stage lights were used. This did made your attention drift off the main part of the scene though.
The music was also well done, the different harmonies throughout the show was spot on. There were very few missed notes, but the actors stayed true to character even in song.
Through out this show I think the thing that made it a success was consistency. The accents were continually the same throughout the show. Each character was consistently seen in the same type of costume. The timing and rhythm was consistent, no long pauses and no times of speed. Thanks to the timing, particularly comedic, the audience was able to laugh, applaud and gasp as a group.
I think that overall the show was a success. There were a few little details that were off, but it could have been that I went to the second night. To the cast and crew… A job well done!
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