Preview – MTW’s Into the Woods

“I’ve heard mixed reviews of the film” says Jessica Williams who, although not having seen the film version as yet, is playing Cinderella in the Musical Theatre Warwick (MTW) production of Into the Woods in week seven. “Some people have said that the show didn’t really transfer well to the screen.” When asked whether she is feeling the pressure of having to live up to the film she says that the cast is aware of this pressure to perform but that “it has created more awareness of the show, and it is a production that suits being on the stage a lot more.”

After being in the pipeline for about four years, this term will see the premiere of MTW’s version of the show which is set in the forties. Matt Young, director and fourth year Law student says that the inspiration for this concept came from the World War Two ‘Dig for Victory’ campaign. “This show asks real philosophical questions, it questions the fairytale and shows that the ‘happily ever after’ is never accurate. The ‘Dig for Victory’ campaign acted in the same way in that it glossed over the bad bits and presented only the glory of war.” Despite this slight rethinking however the director insists that he wants this concept to be “subtle” and “not to totally reinvent the piece.”

The deep morality that the show encourages is something that all cast members agree on. “It undercuts the whole Prince Charming bullshit” says Alex Millen, who has worked with MTW before in their production of Rent and plays one of the Princes in this show. In making a satire of their characters, the role, says Millen, demands a considerable element of the ridiculous. Stuart Nunn, the other Prince (and of MTW’s Sweeney Todd fame) hates this aspect of the character but, like Millen, doesn’t mind chasing after his respective Princess, as both Cinderella and Rapunzel are “incredible singers and are very lovely”.

Even MTW’s Witch seemed perfectly friendly, Kitty Murdoch, who has previously played to role with Company Music Theatre, says that the role is challenging but that for this production she has had “more time to prepare and think about the character” as well as bringing to it “more life experience and skill”. “This is the first time I’ve played a lead in a theatre show so it is nice to tackle an in-depth part”. Indeed there are 17 leads in the show as well as a ten-man chorus and a live orchestra of more than 20 conducted by Musical Director Ben Hamilton. The chorus is an addition made by the director along with several dance numbers choreographed by Polly Hayes, which combine physical theatre and contemporary dance and promise to be “phenomenal”.

When asked how he co-ordinates this large cast with one of Sonderheim’s notoriously difficult scores, Vocal Musical Director Jack Dudley tells me, “we did Sweeny Todd last year so we have some experience, but this is rhythmically more challenging. The dialogue needs to be delivered at an appropriate time in the music, the narrator layers over this and the lyrics are tongue-twisting. Many scenes are underscored and the action is conducted by the music.” “But we have now covered everything and everything is starting to come together” Young insists, and the cast themselves seem already comfortable with the concept of performing. “It’s at a really good stage,” says Williams, “but then the trees come in!” Indeed 6ft moving trees as well as a tower and explosions will also be in the mix, promising an exciting production with a moral and musical depth.