Into the Woods (Creators Theatre Company)
If you've never seen Stephen Sodheim's 'fairy-tale mashup musical' Into the Woods, you really haven't lived or perhaps existed in some parallel literary universe might be a more appropriate observation. Creators Theatre Company are giving their audience the opportunity to immerse themselves in those stories and the outstanding music and lyrics of the late, great Stephen Sondheim.
So what fairy-tale gems will you experience (under the narrator-ship and abounding energy (as the Mysterious Man) of Ian Page), you might ask and in no particular order I would begin with Cinderella (played with consummate characterisation by Chloe Rawson) abused by her step-mother (a scarily authentic performance by Penny Simpkins, frankly I prefer her as the voice of Cinderella's real mother she is much nicer but, that just proves the talents of the performer). Stepmothers of course come with their own daughters in this case the annoyingly incredulous Florinda (Ellen Tozer) and Lucinda (Lydia Swatton) a couple of absolute chips off the old block.
Obviously there is the ball and the loss of a shoe at which point she is pursued by a Prince (who else !), a genius comic performance from Thom Stafford as Cinderella's Prince but, of course one prince is never enough and Rapunzel's Prince played with equal comic appeal by Daniel Tomson is pursuing his love despite the fact she is in-situ within a doorless tower (the duet 'Agony' is a joy to experience).
Rapunzel herself has had more than her fill of the tower anyway (a glass shatteringly vocal performance from Eleanor Rutter) and is looking for a way out were it not that she has been imprisoned by a Witch (Charlotte Boyer's outstanding performance at the core of the story, you have to feel for her regaining her beauty but, losing her magic powers, it is up for debate which she would prefer).
Rapunzel and Little Red Riding have a bit of an ongoing 'who has the loudest scream' contest. I think Rapunzel wins (she can certainly hold it for longer) but, that takes nothing away from an intoxicating performance by Sian Patterson as the 'little girl' off to visit her Granny in the woods, even a meeting with the Wolf (greedily played by Mark Shaun Walsh) doesn't really concern her until of course she finds that Granny (a delightful little cameo from Kirsteen Stafford) has been gobbled-up and succumbs to the slavering mouth of the beast herself.
It's the Baker who rescues Granny and Red Riding Hood, probably the least recognisable of the tales is that of the Baker and his wife, childless by curse and attempting to have said spell removed by the Witch but, needing to collect 'the cow as white as milk, the cape as red as blood, the hair as yellow as corn and the slipper as pure as gold' in order to achieve that aim (know your fairy-tales and you'll understand exactly where those items are coming from). Dominic Wilson is stalwartly brave with a lilting vocal as the Baker, partnered by Jenne Collins in what can only be described as an exquisite performance as the Baker's Wife.
It feels like I have forgotten something ..... ah, he's small-ish but, perfectly performed, Tom Powell as Jack (he of the beanstalk fame) disappearing off to the Giant's Kingdom to fetch a hen that lays golden eggs and a golden harp (in the form of Amber Browning-Ley) and driving his poor mother (ordinary character but, a far from ordinary portrayal from Jo Wright) to distraction, not to mention the puppetry skills of a large proportion of the cast as Milky White the cow.
If you like a bit of love, death, witchcraft and a giant or two all wrapped-up in a stunningly decorated venue at the Bushell Hall Theatre, Solihull School then this is for you and you'll have Director - Richard Agg, Musical Director - Chris Davis, Choreographer - Suzanne Ballard and (because I am not sure who to credit with the amazing video wall set) Stage Manager - Adam Tullett/Dermott Finnegan from Production LX to thank for an experience to remember.
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