Into the Woods at the Ritz Theatre Company

Once upon a time there was a rapping witch, a comical carnivore of a wolf and a mooooving death scene involving a cow. Then a writer named Lames Lapine encountered songwriter Stephen Sondheim. They took these tales and translated them into a story for the stage. Director Craig Hutchings heard this fairy tale and decided to make it a reality. He worked his magic on the staff at the Ritz Theatre Company. Like Jack with the magic beans, he planted the idea of presenting Into the Woods this autumn. The audience who witnessed the October 26^th performance lived happily ever after.

Into the Woods brought a unique concept to theatre. In essence, Lapine and Sondheim combined elements of various fairy tales and set them to music. They took the stories of “Cinderella” (played by Jenna Lubas), “Little Red Riding Hood” (played by Brittany Marie), “Jack and the Beanstalk” (Zachary Moore and Melissa Manzano), and “Rapunzel” (Jamie Talamo) and used them as part of a larger narrative (eloquently explained by Ryan Ruggles).

A witch (Jennie Knackstedt) promised a baker (Joshua Bessinger) and his wife (Megan Ruggles) that she would grant them a child if they could provide her with the following items before three midnights passed: a cape as red as blood, a strand of hair as yellow as corn, the whitest cow and a golden slipper. To my surprise, this quest concluded by the end of the first act: yet another happy fairy tale ending, right? Well…

As local South Jersey writer Christine Hardy once observed, “There’s a reason why fairy tales always end with a wedding.” Into the Woods proved this hypothesis. Act Two injected a dose of “realism” into this fantasy world.

Jenna Lubas delivered strong operatic vocals on the emotional number “Cinderella at the Grave.” Jennie Knackstedt sang a somber lament on parental estrangement with “Last Midnight.” Megan Ruggles performed a moving meditation on regret with “Moments in the Woods.”

To balance out this mood, Into the Woods contained humor. Robert Repici played the most comical death scene involving a cow possibly ever performed on stage. Brittany Marie made “Little Red” into an emotionally charged character. Michael J. DeFlorio turned the villain of her tale into quite the witty wolf. The audience echoed his howls with those of laughter.

Mr. DeFlorio also played Cindarella’s prince in this show. His scenes with another lovelorn regent (Rapunzel’s prince played by Anthony Crosby) made for the evening’s funniest moments. These pretentious princes exaggerated every action they took on stage. This included their singing on the melodramatic duet “Agony.” I also enjoyed Mr. DeFlorio’s struggles to sheathe his sword.

In keeping with the spirit of the season, Into to Woods put some outstanding costuming on display. Costuming Designer AJ Garcia took on quite a project with this show. The pauper style garb that Cinderella, the Baker and his wife and Jack and his mother wore appeared very authentic. On the upper class end of the spectrum, so did Cinderella’s gown, the elaborate uniforms worn by the princes and the witch’s elegant dress in the second act. Even without the music (directed by Collin Maier), the choreography (by Michele Romond) and the excellent acting, Into the Woods would’ve made for an entertaining Halloween parade.

The story book and forest setting (by Krysten Cummings and Joshua Bessinger) made an exceptional framework for action on the stage. The lighting (by Jen Donsky) enhanced it spectacularly.

The cast included A LOT of talent. I’d also credit Krysten Cummings, Ellorah Mead, Monette Solomon, Nicholas French, Jomarie Apelt, Chris Jewell, Maggie Harbord and Sadie McKenna for adding their skills to this stellar ensemble.

Into the Woods made for a scintillating sylvan spectacle; an awesome autumnal arboreal undertaking. The Sunderer of Sorrows and Destroyer of Delights will inflict upon it the same fate as the giant in Jack’s story after November 18^th at the Ritz Theatre Company.

Love, Loss and What I Wore at Haddonfield Plays and Players

Many first time directors choose challenging shows for their debut efforts. Add to that list Tami Gordon-Brody. For her first show she selected Nora and Delia Ephon’s Love, Loss and What I Wore. Ms. Brody informed me that, “It’s a girl show, but I think you’ll like it.” I can write that this style of theatre suited me just fine. I attended the opening performance on February 23^rd.

This play featured a rather unique format. A group of women sat on the stage and faced the audience the entire evening. Each performer had a lectern in front of her. They presented monologs, spoke in unison or delivered dialog while music played in the background.

A screen at the back of the stage displayed various images. When the only named character, Gingy, spoke, drawings of the various outfits she described appeared. On other occasions the backdrop showed the view of a sunrise over a lake. The latter created the ambiance of sitting by a patio while listening as someone told a story. It transformed the theatre into a more intimate setting.

The title well described the play. Seven women sat on stage while sharing various vignettes from their lives. The structure made for a very interesting evening of theatre.

The playwrights crafted a creative story. All of the monologs related what the character speaking wore during the significant life event she discussed. Without the benefit of costume changes or stage actions, this limited the performers to advancing the narrative through story telling ability alone. Ms. Brody selected the proper cast for this endeavor.

Susan Dewey played “Gingy.” I really enjoyed her performance at the show’s conclusion. Ms. Dewey movingly described the “personal” nature of the play. With great feeling the performer added that audiences found it just as “personal.”

Sara Viniar delivered Love, Loss and What I Wore’s most powerful monolog. Ms. Viniar expressed her character’s fondness for boots and mini-skirts. From this introduction she segued into a deeply moving story about the character’s sexual assault while attending college. Her emotional portrayal made me uncomfortable. I credit her for bringing out such feelings in an audience member.

Nicole Lukaitis delivered the most passionate description of a purse ever presented anywhere. It’s difficult to display that level of enthusiasm for an inanimate object. Ms. Lukaitis established a benchmark for doing so.

The other performers brought out their characters’ distinct features very well. I enjoyed Brittany Marie’s tale about how both she and her prom date wore matching outfits. Lori Clark’s inspirational story about her character’s battle with breast cancer at the age of 27 illustrated the theme of hope. Annie Raczko presented an entertaining rendition of how her character lost her favorite shirt while she and her boyfriend broke up. Jenn Kopsesky-Doyle’s character delivered a relatable monolog about marriage woes.

While Love, Loss and What I Wore featured an all-female cast, I can’t agree with Ms. Brody that it’s a “girl show.” While men and women may wear different style clothes, underneath them we’re all people. We all experience love and loss in our lives. They’re two of the facets of the human experience that unite every one of us.

If you’d love to see this show, there’s one more opportunity. It runs through February 24^th. After that, it’s your loss.

 

Disney’s Beauty and the Beast at the Ritz Theatre Company

The magic of Disney transformed South Jersey into a mystical wonderland; well, more so than usual. Twenty-first century exurbia altered into the form of a rustic medieval village. A mysterious enchanted castle settled on the outskirts. The Ritz Theatre served as the source of this enchantment. The building became even more bewitching this July 28^th. I experienced a supernatural evening in the form of Disney’s Beauty and the Beast directed by Craig Hutchinson.

In the prologue voiceover, Rick Williams delivered a stellar reading of the backstory for this “tale as old as time.” In it, a handsome prince discovered the perils of vanity in the most unpleasant way possible. He turned a homely beggar woman away from his door because of her appearance. Spoiler alert for those who’ve never had contact with the outside world: a witch bore the guise of the old woman. She cursed the good-looking young man, making him into a hideous beast. In the process, his servants experienced their own metamorphoses. They started changing into various items in the household.

Only one thing could end the curse. Spoiler alert for those surprised by the first spoiler alert: it’s the love of a good woman. The beast must find a young lady who can look past his horrifying appearance. But this quest contained an added challenge. The Beast must complete it before all the petals fell off the rose the witch gave him. At the story’s beginning, the rose was almost bare.

The action then turned to the bookish Belle (Annabelle Garcia). Somewhat of an outcast due to her love of literature, she still drew the interest of the most desirable man in town, Gaston (Nicholas French). While spurning his affections, her father, Maurice, (played by Bruce A. Curless), became lost in the woods. In order to avoid a coven of wolves, he took shelter in the Beast’s castle. The latter didn’t take kindly to uninvited guests, so he imprisoned the father. In order to free him, Belle promised the Beast she would stay with him forever. Then as the rose withered, their relationship bloomed.

Annabelle Garcia interpreted her character’s role as “beauty” very broadly. I witnessed no paucity of pulchritude from this performer. Ms. Garcia showcased a beautiful voice, beautiful dance moves and beautiful acting ability. Belle proved quite a demanding role, and this thespian rose to the level it required.

Ms. Garcia turned Belle into the epitome of a Disney heroine. Her selection of voice brought to mind Judy Garland’s from The Wizard of Oz; only more mellifluous. Even when delivering lines, her voice contained a melodic quality to it. This performer treated the audience with impressive singing. Her delivery of “A Change in Me” drew on the character’s feelings and expressed them proficeintly.

Ms. Garcia also wowed theatregoers with her dancing ability. Her most memorable scene occurred when she took part in the fast, high-energy “Be Our Guest” routine along with the ensemble.

A true triple threat, Ms. Garcia also exhibited superb aptitude for non-verbal communication. Even when other action occurred on stage, she remained in character through her perfect use of facial expressions. The way she laughed in her scenes with Maurice (Bruce A. Curliss) showed the character’s genuine affection for her father. It came across as believable and sincere. Bravo.

Bryan M. Pitt put on one beast of a performance as the Beast. I liked the way he brought out the character’s inner turmoil through his vocals. He delivered “If I Can’t Love Her” in a dolorous tone that stirred me. One has to credit him for doing this so well without allowing a burdensome costume to distract him.

Mr. Pitt varied the monster’s emotions very well. Through his character interpretation he showed the Beast possessed much more depth and complexity than what appeared on the surface. When required, he played an angry, frightening creature speaking in a harsh tone that invoked terror. The reverb added to his voice in the first act enhanced this effect.

Like a true stage veteran, he portrayed the character’s change in a measured way that made it credible. Mr. Pitt brought out the Beast’s vulnerability when admitting to Belle he didn’t know how to read. He also got laughs when squealing as Belle bandaged his wounds.

I always enjoy the opportunity to hear Tami Gordon Brody sing. Her rendition of “Beauty and the Beast” didn’t disappoint. It provided the perfect background to Belle’s and the Beast’s solo dance.

This show featured elaborate costuming. To illustrate just how extravagant, it’s difficult to argue the Beast’s as the best. David M. Mooney (as Cogsworth) played a realistic appearing clock. Tami Gordon Brody (Mrs. Potts) took the stage as a tea-kettle. Achilles Inverso (as Luminaire) donned the attire of candelabra. Nicky Intrieri performed as a teacup. Brittany Marie (Babette) played a feather duster. Jane Ericksen wore a dresser most of the evening. The ensemble acted as various pieces of silverware. These players deserve immense respect for not allowing costumes that inhibited movement to affect their performances. That’s true professionalism.

In addition, the “normal” characters wore authentic appearing gowns from the 18^th century. They made for quite a visual spectacle.

David M. Mooney and Achilles Inverso displayed outstanding comedic chemistry working together. Their respective costuming added to the humorous effect, but they didn’t allow themselves to become reliant on them for humor. As with Ms. Garcia, they selected the perfect voices to correspond with their characters. I enjoyed Mr. Mooney’s English accent and Mr. Inverso’s French intonation. The inflections enhanced the witty banter between the two.

Nicholas French (Gaston) and Matt Flocco (Lefou) performed well as a comedy team. In addition, I  enjoyed their singing together on the apotheosis of self-admiration the appropriately titled “Gaston.”

Nicholas French may have played a reprehensible character in the form of Gaston, but I still relished they way he performed. It’s quite a trial to play a lothario in an appropriate way to a Disney audience, but Mr. French did so. He teamed up with Ms. Garcia on the outstanding duet: “Me.”

I had one minor issue with the show. I know this is Disney, but dancing wolves? In the story’s context, they were supposed to be threatening creatures. Seeing them dance, made them less so; and Beauty and the Beast isn’t Cats. That’s not to diminish the work of the dancers. More thought out writing would’ve gotten the playwright’s point across better.

Choreographer Jessica Quindlen put together memorable routines. I’d credit dancers Casey Clark, Olivia West, Lindsey Krier, Nicky O’Neal, Kaitlyn Delengowski, Margot Adams, Matthew Janis, Madeline Kendall, Annie Raczko, Kahlil Wyatt, Mike Wemer, Brian Gensel and John Sayles for the technical ability to execute them.

I also enjoyed Taylor Brody in the role of the malevolent Monseiur D’Arque. Bruce A. Curless played the eccentric Maurice exceptionally well.

During intermission, the Ritz allowed theatregoers the opportunity to purchase illuminating roses. When the proper scene arose a series of roseate glows dotted the auditorium. Watching a dark theatre light up with red flowers added to the optical display.

Some “tales as old as time” never get old; Disney’s Beauty and the Beast among them. A curse may have ignited the main story spark, but it blessed the audience with a truly enchanting evening. Unfortunately for theatre fans, the petals are falling off the rose while you’re reading this. The magical opportunity to see Beauty and the Beast ends this August 6^th.