Fairy Tales Come Alive: High Tide’s Into the Woods
I spent my 50-somethingth birthday at a historic club in Springfield, Missouri, Martha’s Vineyard. This is the same club that I spent my 21st and 40th birthday in as well. This year instead of dancing, I was watching High Tide Theatrical’s rendition of Stephen Sondheim’s Into the Woods. I’m not sure what I expected of the small town theater troupe’s production, but all my hopes were exceeded.
Into the woods, stands the test of time. It has been adapted for audiences of every age and bent. Disney also turned it into, possibly the worst, film adaptation of all time - other than CATS. Forgive me, Taylor Swift.
High Tide’s performance was held in Martha Vineyard's small but inviting Lightroom Lounge. It was directed by Joshua David Smith, an Evangel University alum. His handling of the large ensemble cast in such a small venue was no small feat; the way he navigated the actors through the limited space created an incredibly dynamic and often surprisingly grand feel. It truly showcased his innovative vision for the production.
This was no karaoke cast. Music director, Danielle Harden, demonstrated exceptional ingenuity by managing to incorporate an entire orchestra into the surprisingly cozy venue. The musicians were ingeniously perched atop Rapunzel's tower, a creative solution that not only maximized space but also added a whimsical visual element to the performance. The resulting sound was nothing short of magnificent - full, rich, and deeply immersive, yet perfectly balanced so as not to overwhelm the audience or the vocalists. It was a testament to Harden's vision and skill, transforming a potentially confined space into a vibrant and acoustically impressive concert hall.
Sondheim’s lyrics are notoriously difficult, both because of the speed of the delivery and the complexity of the arrangement. In the opening number the witch sings about the theft of magic beans from her garden. The patter is so fast and precise that many experienced performers do not even attempt the role, and the ones that do often slow the music down to make it easier. Sally Trtan portrayed the witch and didn’t miss a beat. It was truly remarkable to witness.Stephen Sondheim’s reputation for crafting intricate and challenging lyrics is well-deserved, and perhaps no better exemplified than in his musical compositions. The difficulty stems not only from the rapid-fire delivery often demanded of performers but also from the sheer complexity of the musical arrangements that accompany them. This formidable combination requires an exceptional level of vocal dexterity and dramatic precision.
A prime example of this lyrical and musical intricacy can be found in the opening number of one of his most celebrated works, where the character of the witch recounts the pivotal theft of magic beans from her carefully tended garden. The patter, or the rapid recitation of words, is executed with such blistering speed and exacting precision that it becomes a true test of a performer’s capabilities. This particular role is so notoriously demanding that many seasoned and otherwise highly skilled theatrical performers shy away from even attempting to embody the character. For those brave few who do undertake the challenge, it is a common practice to deliberately slow the musical tempo to provide a crucial, albeit subtle, advantage in delivering the intricate lines without error.
Therefore, it was truly a remarkable feat to witness Sally Trtan’s portrayal of the witch. Her performance was nothing short of extraordinary; she navigated the lightning-fast lyrics and complex musical phrases with an impressive command, never missing a beat or sacrificing the clarity of Sondheim’s meticulously crafted words. Her ability to maintain both the required speed and the nuanced articulation was a testament to her talent and dedication, making the experience genuinely unforgettable for all who observed it.
Choosing a single favorite performer from such a talented cast would be an impossible task, as each individual brought their unique flair and dedication to their roles. However, it's undeniable that Heather Haloupek, in her portrayal of Red Riding Hood, truly embodied and elevated the character. Her performance was a standout, leaving a lasting impression on me.
Heather's Red Riding Hood was a masterclass in nuanced acting. She struck a perfect balance between the character's inherent innocence and a surprising, yet delightful, sass. This duality shone through in every line delivery, every gesture, and every interaction. Audiences were captivated by Red's wide-eyed wonder and her playful, often witty, retorts. Heather managed to convey the classic vulnerability of the fairytale character while simultaneously injecting a refreshing sense of agency and spirit. Her presence on stage was vibrant, and her commitment to the role made Red Riding Hood a truly memorable and engaging character in the performance.
High Tide’s performance of Into the Woods runs until August 16. I hope you were able to get tickets, because it sold out in 3 days. Their next shows include Sarah Jenkins’ Every Brilliant Thing in September, and the 50th anniversary celebration of Richard o’Brien’s Rocky Horror Show in October. This theatre troupe’s dedication to diverse casting, writing, and production drove me to become a member of their Rising Tide Society, and I look forward to seeing all their future curtain calls.
https://hightidesgf.org/
