Once again, Des News reviews are so substandard. How can the lyrics be indecipherable, yet it isn't the actors' or the director's fault? It's the audience's fault because they don't know the show? Odd conclusion.

I hated this review. My family first acted "Into The Woods" when most of them were in grade school and totally understood the main plot and story line. The philosophical meanings of always looking unsuccessfully for "happily ever after" are very obvious to a teen or adult.

I think the review could have talken into account that perhaps the audience was a bit preoccupied with the miserable state of the country right now and was not quite up to cheering for a show. Maybe it was just a tired audience; some are great and some are so-so.

I believe these explanations are far more likely than the half baked idea that Stephen Sondheim messed up the lines and music. If the reviewer had as much talent with words as Sondhiem has in one line of his show, the review would have been fabulous.

Not really a community theatre show. Probably best left in the hands of pros.

Sorry Bob2 but I must disagree. When I saw the original Broadway production it lasted 3 hrs. 15 min. I was bored to tears and talk about self-indulgent acting. The same with Pioneer Theater Company's production of it! And don't get me wrong, I love PTC and have been a season tickets holder for years and will continue to be one forever. I am a real Sondheim fan but felt that this particular show was self-indulgent, too long and the music to be way off base even for Sondheim. Fortunately, when they taped it for PBS and subsquently released it on DVD, the original cast rose to the challenge and did a fine performance and the show was way better. But it is still too long and too wordy IMHO. I haven't seen HCTWV's show yet, but am looking forward to it. But to hear from the reviewer, I just wish they'd stop using that stupid turntable. It is ridiculous, takes the focus away from the story, and doesn't allow the actors to move around naturally. It turns every show they use it in, into a 3-ring circus.

I directed this show last year at a local community theatre. I can honestly say it was the most difficult show I have ever been a part of. However, it was also very rewarding. It can be performed in a much shorter amount of time and the audience, theater buff or not, can understand it. We received several praises on our production, where the performers were flawless, and performed with a LIVE orchestra. I love the messages in ITW and I look forward to seeing how Hale tackles it. I'm excited! Do yourself a favor and go Into the Woods.

I have the same problem with virtually every production I see at HCTWV: the revolving stage is overused, often distracting, and occasionally nauseating. I haven't seen this production, which sounds beautiful and based on the cast, several of whom I have seen in the past, is likely beautifully sung, but I wouldn't be surprised to leave a little woozy from the constant spinning.

I really enjoyed this show at the Utah Festival Opera. With their use of supertitles, I didn't miss a word. That's the way to do it.

@ Bob2...
While you may derive some elitist satisfaction from looking down your nose and labeling Hale as a "community theatre", you have to admit it's not quite accurate. Community theater is when folks from a local community get together to put on a show on an ad hoc basis--nobody gets paid, but everyone, including the audience, has a great time.

At HTC, they draw highly talented cast members from the entire Wasatch Front. Everyone is paid, including the cast. The theater provides full-time employment for quite a few people. They are not an Actors Equity shop, and most of their cast members have "day" jobs, but to be fair, Bob2, neither is it "community theatre". (And by the way, no, I have no affiliation with the theater other than attending shows there....)

The theater-review forums here seem to be frequented by a group of snobs (or one person posing as several posters) who like to dismiss as "unworthy" any theater group which produces only family fare by labeling them as "community theater". That's fine. Leave those of us who DO enjoy family-friendly theater alone and spend your money and your time elsewhere.

I am a member of the Into the Woods cast, playing Stepmother. I have performed under every kind of Equity contract from Full Production to Guest Artist, Stock and Small Professional Theatre, in national Broadway tours, in NYC, and in regional theatre around the country.

I produced a musical theatre program in NYC in collaboration with faculty from Circle in the Square Theatre that the industry's trade paper, Back Stage, rated as one of the top two in NYC, along with NYU's Cap 21 program. Broadway directors, choreographers and producers were on my board, faculty and creative staff.

When I moved to Utah recently, I knew there was not much "professional theatre" in the sense of "union houses," so I went inactive in my unions (SAG-AFTRA-AEA).

My short-lived experience at "the Hale" is very much a cut above "community theatre" and I haven't regretted affiliating with a family theatre in a community that welcomes that niche.

By the way, the major difference between "community theatre" and "Broadway" is typically a function of funding. If this community wants higher quality theatre, patrons need to support it more generously. The talent is abundant, but you usually get what you pay for.

There seems to be a lot of tension in this forum.

We should all realize three things.

1: Erica Hansen's reviews are based upon her perception as a local theatrical performer herself. And as we all know it takes 100 actors to perform one role. One to do it and 99 to say "I could have done that better."

2: HCT always has, is and will be more focused on the spectacle of theatre, then the message. Touting your pay scale of actors and staff and the cost of their "million-dollar" stage in almost every ad. How can anyone attend HCT productions and expect anything more then that?

3: Utah theatre is some of the best in the country, bar none. We have a huge talent base with so many gifted artists, that most places don't NEED to pay to get talent, so they won't. Pay does NOT equal quality. As a result the audiences in Utah are actually smarter and more culturally diverse then most theatres give them credit for. As a result of under-estimation most theatres dumb down shows unnecessarily. To me that was the biggest issue with HTC's ITW.