Brothers Grimm Fairytales Come to Life in ‘Into the Woods’

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Photo courtesy Forte Theatre Company

Forte Theatre Company 'Into the Woods'

Forte Theatre Company's 'Into the Woods'

Forte Theatre Company is among Milwaukee’s newer theater companies. The resilient company closed with the pandemic lockdown, then rose again with a wave of musicals. Now it’s offering Stephen Sondheim’s Into the Woods in one of the city’s southwest suburbs. The show opened last weekend in Franklin’s Saber Center for the Performing Arts.

In many ways, this is Forte Theatre’s most ambitious production to date. For starters, it is tackling a show that is very tricky to pull off under the best of circumstances. Even the venerable and better-financed Milwaukee Repertory Theater hasn’t done it yet (although it did do a moderately successful production of Sondheim’s Assassins a number of years ago).

This 1987 musical, written by Sondheim collaborator James Lapine, won three Tony Awards and has been reprised on Broadway several times. (The most recent Broadway revival, which played in 2022, is now on tour and opens soon in Chicago). The musical also was made into an Academy Award-nominated 2014 film.

In viewing the current production in Franklin, it’s easy to see why other local theaters have shied away from this show. The song lyrics and melodies are challenging. The show’s plot is revealed as pieces of a puzzle, the kind Sondheim loved to create. Some of the cast is required to perform more than one part (intentional). And one of the show’s “largest” characters (i.e., the giant) is heard but never seen.  

That’s enough to require Alka Seltzer for any producers brave enough to stage it. 

The show deftly interweaves a number of fairytales created by the Brothers Grimm. It begins on a lighter note, with characters listing a number of “wishes”—for a baby, for wealth, for a prince, for a lost pet’s return, for happiness—that are mostly granted by the end of Act I.

Cinderella and Friends

We meet familiar favorites such as Cinderella, Rapunzel, Jack (and the Beanstalk), Little Red Ridinghood (spelled as per the creators’ wishes), and so forth. Tying the stories together is a new pair, a childless baker and his wife. They are the “glue” that holds the production together. In the hands of Forte’s Christie Burgess and Tim Rebers, the audience need not worry. They are terrifically matched in temperament and vocal ability to carry the show to its unsettling conclusion. Their signature song, “It Takes Two,” is sweetly delivered (and reprised).

For all of the characters, “the woods” represents a journey into unknown territory. To navigate its depths requires dexterity, ingenuity and faith in oneself. One may emerge smarter, wiser and more focused, or perhaps more confused about what to do next. In this way, it mirrors life itself

Another key character is a witch (Ashley Rodriguez) who lives next door to the Baker and his wife. Rodriguez excels in her role, which requires a transformation as well as a convincing cackle. She tops her performance with a beautifully sad song, “The Last Midnight,” which is a memorable highlight of Act II. Equal credit for the song’s delivery goes to set designer Robert Sagadin and lighting designer Abby Wass. They create a perfectly gloomy environment for Rodriguez to dazzle us.

A Shocking Reversal in Act II

When the curtain rises on Act II, some characters seem to have even more wishes. However, they must now deal with real-world problems. As the show continues, these wishes disappear in a mere struggle for survival. The various characters must deal with episodes of loss, heartache, adultery and gruesome ways of (offstage) death. It’s far from the stuff of traditional fairytales.

However, the remaining characters also discover that “No One Is Alone.” This song frames the bittersweet ending with a dollop of optimism.

On opening night, some actors may have been suffering from microphone difficulties. Their words often could not be heard over the live orchestra. However, it must be noted that this is Forte’s first show using live music, so perhaps this flaw can be remedied during the run.

In any case, under the music direction of Alex Chilsen, who also conducts, the orchestra is a thrilling addition to the experience of a live performance. The musicians can be proud of their contributions to the show’s success. 

Director Randall Dodge, who is also the company’s artistic director, has his hands full juggling a large cast that ranges in their onstage experience. In the “more experienced” acting category, Molly Kempfer makes a spectacular Little Red Ridinghood, not to be outdone by Candace Decker as a charmingly obnoxious mother and Kaitlin Feely as an appealing Cinderella. 

Gorgeous Costumes Abound

With a boost from costume designer Nikki Heiniger, Kaitlin Feely evolves from a soot-covered maiden to a beautiful princess. Both of Cinderella’s evil stepsisters (Lydia Rose Eiche and Megan Rose Miller) are completely hilarious throughout. 

Relative newcomers to the stage include Gabriel Manuel Burdette as Jack, Bekah Rose as Rapunzel and Aiden Black as the Steward. All perform admirably.

Notable performances also are turned in by George Lorimer as Cinderella’s prince, (who also appears as the Wolf), Scott Howland as the narrator, and Kathy Pyeatt as Cinderella’s stepmother. Brett Sweeney plays Rapunzel’s prince.

Stephen Sondheim fans will especially appreciate Forte’s efforts in creating this show. If you are among them, you won’t want to miss it.

Into the Woods continues through April 23 at the Saber Center for the Performing Arts, 8222 S. 51st St. in Franklin. It runs 2 hours, 45 minutes with one intermission Masks are not required, but encouraged. For tickets, call Forte Theatre at 414-366-3634 or visit fortetheatrecompany.org.