Into The Woods

CHRISTOPHER SMITH The Garage, Norwichr and his wife longed for a baby and while Rapunzel lets down her hair and lets out some screams that pierce your ears.

CHRISTOPHER SMITH

> The Garage, Norwich

This is the tale of the girl in the cloak who met the wolf; of another who watched the fire and put on the slipper that thrilled the prince; while the boy who sold the cow and bought the beans and climbed right up, slayed the giant and caused more trouble than you ever imagined, as the baker and his wife longed for a baby and while Rapunzel lets down her hair and lets out some screams that pierce your ears. Well, that is more or less what it is, and you think you could see what it will all lead to.

Don't be fooled. Stephen Sondheim and James Lapine are far too grown up, far too worldlywise not to imagine it is just by chance that these are Grimm's Fairy Tales.


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Everything is jumbled up, then most things are sorted out, and emotions run on a free rein and just what American 'can-do' optimism ends up, remains an intriguing question.

Directed by David Lambert, who also narrates, and Jo Reil, a large Youth Theatre Company cast, shows it knows how to make the most of quick-change emotions, with pauses for sentiment between moments of terror.

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Daniel Elliott, gangling and gormless, catches the eye as Jack, Jenni Woodward makes a pretty Cinderella, and Mandy Kiley can make your blood run cold as the Witch. But the real strength of this production lies in the overall team effort. Though not all the singing is powerful, conviction and characterisation go a long way to make the major points.

The sets have a touch of magic, and the costumes are always just right, while Charlie Caine at the keyboard kept the music flowing.

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