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This was my first opportunity to see an amateur production of Stephen Sondheim’s sophisticated fantasy and can understand why many groups with less talent and resources at their disposal fight shy of tackling it.

Although the Producer, Richard Allen, had assembled a cast from far and wide and included many who were not so well known to those that frequent the Barn Theatre regularly, the greatest credit must go to the technical experts more closely associated with the Theatre for the brilliance of the show.

The sets were magnificent both in the design by Jill Wilson and the manner in which the design was realised, an achievement that could only be attained through the skills of those that work so diligently backstage. It included a grassy knoll that could be raised to reveal a cottage interior and a tree that served both as the resting place of Cinderella’s mother and the tower in which Rapunzel was imprisoned. The upstage area was dominated by a cut-out forest on full width rostra that allowed variations in height to be utilised by the Director.

Lighting and sound were equally impressive with the cyc on occasion being lit dramatically in red and at other times enhanced by a moon gobo. The giantess’ demise towards the end was marked by the rapid flashing of all onstage lamps. Amongst the sound effects that held the attention was the crying of the infant that appeared to emanate from the bundle representing it and the twittering of birds that created a woodland environment before the show began, in the interval, as well as during the course of the action. In addition, the approach of the giant and his wife was marked by the sound of some very realistic footsteps and the thunderstorm was most realistically simulated.

Other noteworthy effects included the fire in the grate of the baker’s cottage at the start of Act II and the surprising departure of the witch through the upstage trap.

Costumes were splendid with some particularly sumptuous gowns in which Cinderella’s stepmother and her daughters were attired. The prince’s outfit was also suitably grand.

Make up and wigs were fine and appropriate, although I did think that in spite of his mass of facial hair, the mysterious man had a rather young face. At the beginning it seemed that the witch’s old crone’s makeup was obtained by a mask and a false chin, but this gave her a rather unnatural look.

The large orchestra under Jonathan Butcher’s direction sounded faultless in interpreting what appeared to be a very complicated score and allowed all the words uttered or sung to be clearly heard.

For such a complex piece it is surprising that the Director, Paul Longhurst, was able to undertake such a major role as the Baker in addition to supervising everything that was happening elsewhere on stage, but the production did not suffer by his doing so.

Without exception the whole cast performed admirably. All those required to sing demonstrated first class voices and their singing experience as described in the biographies in the programme. Of the many songs the show contains I particularly enjoyed "Into the Woods" with which it opened, the fine duetting of the Prince (Bob Wilson) and Rapunzel’s Prince (Richard Allen) in "Agony" and the confidence with which all those involved delivered "Your Fault". I also thought that Cinderella’s stepmother and her daughters sang very well together and moved in a most elegant manner.

This then was a most exciting production and of a quality that can only have been devised through a great deal of thought and diligence from a group who knew exactly what they were trying to achieve and who inspired a group of talented actors and actresses to perform it.

Reg Humby - 29th April 2004