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Beth Noelle (the Witch), Amelia Rothschild-Morgan (the Baker's Married woman), and
Jake Beaver (the Bakery)

By Tina Arth and Darrell Baker

In essays, editorials, etc. the conclusion is generally to exist found at the end of the piece. Beaverton Civic Theatre's electric current production drives usa to ignore this principle and pb with our considered opinion – Into the Woods is not only the best musical BCT has e'er washed, it is the best community theater musical we have seen in 41 years of theater-going. It helps, of course, that the bandage was fatigued from a overflowing of actors – we sympathize that the audition pool was enormous. However, co-directors Melissa Riley and Josh Pounders did a spectacular job of picking just the right cast from a truly regional talent base. Remarkably, only four of 19 cast members have appeared in previous BCT productions. This product, with this cast but more resources, could exist mounted on any of several local professional person stages.

Into the Woods may be Stephen Sondheim'southward best-loved musical. His songs, sometimes startlingly witty and sometimes emotional and profound, are a perfect complement to James Lapine'southward book – a marvelous jumble of fairy tales fatigued from Jack in the Beanstalk, Cinderella, Footling Red Riding Hood, Rapunzel, and more. The stories intersect through the iii main characters – the Baker (Jake Beaver), the Baker's Wife (Amelia Morgan-Rothschild), and the Witch (Beth Noelle) – none of them drawn directly from the show's fairy-tale antecedents. These powerful characters, supported by an amazingly gifted ensemble, weave a new story of love and responsibility never imagined past the Brothers Grimm.

Essie Bertain (Cinderella) and Olivia Noelle (Piddling Red Riding Hood)

Long before the proclamation was made, nosotros had already mentally cast Jake and Amelia in their roles (doesn't everyone accept dream casts?). We were right. Beaver is perfect for the part – his warm and mellow baritone fills the theater on solos and provides the foundation for the vocal ensemble, and he brings a maturity and subtlety to the complex function that belies his 25 years. Rothschild-Morgan is every bit equally potent. Her wide song range permits her to deftly handle Sondheim's demanding score, and her timing and delivery ensure that none of the authors' intricate lyrics or dialogue fall by the wayside.  Noelle is equally well-suited as the witch, the most challenging role in the prove. She navigates the transition from withered crone to supple dynamo with ease, and she is equally constructive whether delivering natural language-twisting patter or heart-rending ballads.

There is a lot to love in the balance of the cast. Almost all were obviously called for both their singing and acting power, and it really shows in the beautiful ensemble numbers. Essie Bertain ("Cinderella") is gifted with a mobile face and exquisite voice – and her timing on "Steps of the Palace" makes it a comic highlight of the show. Olivia Noelle ("Niggling Red Riding Hood") has apparently inherited a lot of talent from her female parent (who plays the Witch). She is terribly funny, has a lovely vocalisation, and has somehow mastered the art of singing with her mouth total – kind of like a musical spit accept! The other younger cast member, Burke Boyer ("Jack") displays a assuredly plaintive relationship with his pet cow, and does a fine task with his 2 big solos, "I Guess This is Good day" and "Giants in the Heaven." Jack'southward Mother, equally played by Kymberli Colbourne, gets several big laughs with her wry, frustrated take on the graphic symbol.

Two characters often hidden in the shadows really came out of the woods in this product – Greg Prosser ("Narrator"/"Mysterious Human being") and Sarah Spear ("Rapunzel"). Prosser's clear speaking voice is well suited to his expository function, and his added involvement every bit bird puppeteer is a dainty bear upon. Spear's well-deserved prominence in the show (her phonation and face are both quite lovely) comes from the directors' option to continue her center-stage (and perhaps from the audience'southward proximity to the action). Max Artsis ("Cinderella'southward Prince"/"Wolf") and Kraig Williams ("Rapunzel's Prince") work well together, and the iconic duo "Agony" earns the requisite laughs. Artsis' lithe physicality and seductively sinister mien ensure that the lecherous nature of both of his roles is fully realized.

Of class, no cast is alone – especially in a musical. Given the space constraints of BCT's current venue, a full orchestra would have been impossible, and completely canned music inadequate to a product this strong. As music managing director, Pounders fabricated a vivid choice, augmenting the pre-recorded score with flautist Cara Morgan and clarinetist David Massey – their accents requite the music a live experience and provide the actors with much-needed cues. The single set, a darkly detailed forest scene, is cleverly designed to utilise every inch of the stage, and Rapunzel'south Tower stands in lieu of wing infinite for much of the activeness.

The enthusiasm of opening night's total house audition predicts that there volition non be many empty seats for the run of the prove. We've seen audiences cheer at concluding curtain – but did not expect it at interruption! We recommend that you buy tickets in advance – in that location's no guarantee that walk-ups tin can be accommodated.

Into the Woods runs through Lord's day, Oct eighteen^thursday at the Beaverton City Library Auditorium. Performances are at 7:30 p.chiliad. on Friday and Saturday and 2:00 p.one thousand. on Sun.

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Source: http://westsidetheatrereviews.blogspot.com/2014/

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