Timothy Sheader's Into The Woods

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In this production of Into the Woods, directed by Timothy Sheader, viewpoints are used extensively. The musical is set in an outdoor stage, with over three stories of space. Each and every area of the set is used in one way or another, with clever planning. This production of Into the Woods includes many characters, which use exaggerated movements, showing great use of time. For example, the Wolf acts very slowly around Little Red Riding Hood, to show that he is eyeing her as a meal (spoilers: he eats her). The Wolf also moves very slowly over the duration of his introductory scene, showing that he is keeping himself calm and planning his actions out for later. He is very touchy-feely with Little Red (like a chef is with his steak, in a way), and she responds naively (she doesn’t know that he’s going to eat her, of course). However, she does avoid talking to him as much as possible, because talking to strangers is dangerous. On the other hand, to show that the…show more content…
The architecture is use fantastically, with characters such as Rapunzel and the Giant on a very high space on the stage (about the fourth story). Characters use good spacial relationships, such as the storyteller boy playing with dolls in front of the scene (acting out the story), and the real story taking place in the background. The characters’ movement is also well adapted to the big set, with lots of running/jogging taking place. The actors don’t move too fast, however, so you can still keep track of them easily. The characters even make exaggerated gestures, to show their emotion or make lines jump out, such as how the witch bangs her arm-wands onto the supports of the set. The set has many stories, with different scenes taking place on different levels (or many). When not used, certain stories go dark so the audience can focus on the actors. They even use tactics such as dancing in symmetry, showing great shape from both sides of the

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