‘Into the Woods’ by Good Shepherd Players showcases spectacular vocals

Into the Woods is one of those diorama Broadway shows: it’s got a ton of people on stage, a ton of props, a ton of musical numbers, a ton of classic, nay, essentially sacred characters to get right, and a ton of ideas. Unlike many other diorama shows, which sport large clusters of characters on stage all vying for a piece of narrative pie — Into the Woods is a masterpiece that’s unrelentingly hard to get right. But the Good Shepherd Players do a fantastic job taking on this hefty Sondheim tour-de-force, making the most heartwrenching numbers sing. In moments, this production is visually rough around the edges and overacting is present, but the live orchestra(!) and stellar performances compensate.

Under Nancy Lavallee’s direction, the Good Shepherd Players’ performers are startlingly impressive, with extraordinary operatic vocals under Rachel Bradley’s vocal direction, particularly by Gretchen Midgley as Cinderella, Katherine Lipovsky as the Witch, Sean Garcia as Cinderella’s Prince and the Wolf, Leah Boyd as Rapunzel, Tina Ghandchilar as the Baker’s Wife, and Richard Jacobson as the Baker.

With Lavallee’s direction, Donna Sisson’s costume designs, and Bob Hall’s set design, this is a sort of modern take on Into the Woods — or maybe not? While there are plenty of classic European gothic fairytale visuals, there are also plenty of modern visuals, and there isn’t a clear reason for them to be there simultaneously. This aesthetic split could be a fantastic angle for Into the Woods, and it almost works here, but because of the inconsistencies in execution, I’m not sure it was intentional. Cinderella’s gown looks straight out of the Disney parks while Jack, the Baker, and the Baker’s Wife look like everyday folks at the grocery store. It’s not just a fairytale-vs.-suburban look, though: Rapunzel is frequently in a Jazz Age flapper dress, the Princes are wearing windbreakers with attached epaulets, and Jack’s Mother is dressed for half of the show like both a rural 1940s mother and Dorothy Gale for the other half. Most of the looks are fitting on their own, but together they’re less cohesive.

This production does succeed in adding its own moments of humor to the show. Many lines are delivered that might have been somewhat funny before in ways that get big laughs. However, there are characters and moments that require more reverence in their execution to retain their narrative power. This attempt to inject humor and personality seems connected to some overacting, particularly from the Witch, the Baker’s Wife, and sometimes the Baker, who are giving forte exuberance in mezzo-forte moments. All three of these actors are such excellent singers: if they are worried about making an impression, their spectacular singing gives them more than permission to put that far out of their minds.

Kathleen Jo DiEmidio as Little Red and Adam Gambrel as Jack had their performances exactly right: they are incredible singers with acting styles that match their characters. They also scale their volume and energy to the needs of respective narrative moments. Occasionally Jack wasn’t audible due to mic issues, but when he was, his wonderful performances could shine through.

Bob Hall’s set design has a quaint-looking bed, armoire, and wallpaper that could be from a fairytale. However, a few anachronistic props detract from the fairytale/neutral-timeless aesthetic. For instance, before the first note of the show is sung, the Narrator walks to the center of the stage holding toys and trinkets in an Amazon Prime box. I hoped this would be followed up with a modern take on the show, but it was left as an unknotted narrative thread. There is also a suitcase incorporated prominently into the set outside the proscenium labeled in giant white letters “Professor Harold Hill” — a Music Man reference — which could be a fun Easter egg but begs for attention rather than winking at the viewer.

At the end of the day, any issues with the visuals or production elements aside, there are always those last two songs. Jacobson as the Baker, Gambrel as Jack, DiEmidio as Little Red, and Midgley as Cinderella deserve a standing ovation every time for their work in “No More” and “No One Is Alone.” Their beautiful, Broadway-quality vocals, combined with the fantastic orchestra under Music Director Colin Taylor, are spellbinding.

This cast really makes you believe that they have experienced all those deaths and blows to their innocence. Sondheim’s message lives on in this production — and to that I say bravo.

Running Time: Two hours and 45 minutes, with one 15-minute intermission.

Into the Woods playss through May 19, 2024 (2 PM on Sundays and 7:30 on Fridays and Saturdays), presented by The Good Shepherd Players performing at Church of the Good Shepherd, 9350 Braddock Road, Burke, VA. Purchase tickets (adults, $22; students, $15) online.

The program for Into the Woods is online here.

COVID Safety: Masks optional.

Into the Woods
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick

Director: Nancy Lavallee
Music Director: Colin Taylor
Choreographer: Kathleen McCormack

Rapunzel: Leah Boyd
Sleeping Beauty: Allison Kate Copeland
Rapunzel’s Prince: Jared Diallo
Little Red: Kathleen Jo Diemidio
Steward: Jeff Elmore
Florinda: Megan Fraedrich
Jack: Adam Gambrel
Cinderella’s Prince/Wolf: Sean Garcia
Baker’s Wife: Tina Ghandchilar
Milky White Puppeteer: Lynn Gilbertson
Baker: Richard Jacobson
Narrator/Mysterious Man: Greg Lanave
Snow White: Elizabeth Lavallee
Witch: Katherine Lipovsky
Jack’s Mother: Margaret Mcgarry
Cinderella: Gretchen Midgley
Cinderella’s Mother: Fran Nadel
Cinderella’s Stepmother: Rebecca Roberts
Granny: Barbara Skog
Giant: Casey Sutcliffe
Cinderella’s Father: Paul Smith
Lucinda: Elizabeth Wolfert