{"id":3784,"date":"2012-03-18T10:58:19","date_gmt":"2012-03-18T09:58:19","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=3784"},"modified":"2012-03-18T10:58:19","modified_gmt":"2012-03-18T09:58:19","slug":"out-of-the-woods-to-touch-the-stars-triumphant-success-for-music-theatre-society","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2012\/03\/18\/out-of-the-woods-to-touch-the-stars-triumphant-success-for-music-theatre-society\/","title":{"rendered":"Out of the Woods to touch the stars: triumphant success for Music Theatre Society"},"content":{"rendered":"

The curtain has sadly fallen for the last time on this year\u2019s production by the Music Theatre Society, and their assured performance of Sondheim\u2019s Into the Woods<\/em> that never puts a foot wrong. A strong cast and crew combined to give a professional production that at times transcended the auditorium and swept the audience beyond the theatre into the dark moral territory of Sondheim\u2019s show in overwhelming fashion.<\/p>\n

\"IntoAs Cinderella, Cheryl Ahmet<\/strong> demonstrated a refined, clear tone, and sang \u2018No-one Is Alone\u2019 in particular with a touching simplicity that was deeply moving.<\/p>\n

Tenor Richard Simpson<\/strong> as the Baker projected great stage presence, and showed he had a clear insight into the musicality of his arias; he sang with considerable nuance to phrasing, and there\u2019s a fine voice there as well. His delivery of \u2018No More\u2019 was full of subtlety and emotion, and held the attention of a rapt audience. Jenni Stewart<\/strong> played Little Red Riding Hood\u2019s impudent childishness to perfection, and her face-muscles must have been working overtime as she portrayed the full range of impish expressions of the ever-snacking child.<\/p>\n

The two princes were in very jolly form \u2013 the line \u2018I was raised to be charming<\/em>, not sincere<\/em>\u2019 was greeted with an appreciative and spontaneous round of applause.<\/p>\n

Star of the show, however, has to have been scene-stealing Lucie Nash<\/strong> who, as the Baker\u2019s Wife, was in inspired form as she painted the full spectrum of her character\u2019s emotional range; moving from heart-rending desire for a child to puckish swagger and sultry seductress with the Prince, her comic timing in particular was immaculate, and the on-stage rapport with Richard Simpson as the Baker had a genuine warmth.\u00a0 Moving around the stage with an ease that radiated confidence, her \u2018Moments in the Woods\u2019 aria was especially beautifully crafted, and sensitive to the nuances in the score.<\/p>\n

The orchestra and singers were held together well by the efficient direction of conductor Adam Abo Henriksen<\/strong>.<\/p>\n

All in all, this is a triumphant achievement for director and this year\u2019s society President, Lisa Crowhurst<\/strong>. The overall integrity of her sure-footed directorial vision was alive to the sophistication of both Sondheim\u2019s music and text, and its clarity allowed a natural ebb and flow to the narrative drama in a manner which allowed the nuances of the players and the changing emotional and moral relationships between the characters to stand clear.<\/p>\n

\"MusicBy the time you read this, the run will have come to its end and the woods will have been cleared; but the entire company can look back on three days of terrific accomplishment in the seaside playhouse. \u00a0A triumphant achivement for the cast, crew and Society: bravo.<\/p>\n