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Fairytales are meant for children. They are en-joyable and fanciful, but there is always a lesson to be learned. Into the Woods, the 1987 musical which combines well-known fairytales like Little Red Riding Hood and Jack and the Beanstalk is an important piece of theatre for many reasons. First of all, the award-winning book, music, and lyrics, written by James Lapine and Stephen Sondheim respectively, are incredibly witty, imaginative, and compelling. Secondly, with recognizable characters and familiar stories, audiences find Into the Woods intriguing. But what makes this show special is that it juxtaposes the light-hearted entertaining aspect of the framework with profound lessons and overarch-ing themes that linger with audience members even after they have left the theatre. Disney recently adapted Into the Woods for the screen, and the film opened on Christmas Day. According to Box Office Mojo, the movie brought in $31 million in its first weekend, ranking second place in the box office. With big-budget production value and a star-studded cast featuring Meryl Streep as the Witch, Into the Woods definitely impresses, but leaves you “wishing” for more. The story begins by telling Cinderella and Jack and the Beanstalk’s well-known tales and introduces new characters, The Baker and his Wife. The couple wants a child and learns from a visit with the Witch next door that a curse was placed on the house when the Baker’s father foolishly stole from the Witch’s garden. She then goes on to tell the couple that if they wish to have the curse reversed, they must bring her four items: “The cow as white as milk, the cape as red as blood, the hair as yellow as corn, the slipper as pure as gold.” So the Baker and his Wife embark on a journey into the woods to acquire the objects while Cinderella goes to visit her mother’s grave; Jack ventures to market to sell his cow, and Little Red Riding Hood journeys to grandmother’s house. Halfway through the story, it seems all the characters’ wishes have been fulfilled, yet chaos ensues when a giant comes into the kingdom and individuals begin acting selfishly, and the moral line between right and wrong is blurred. One of the fatal flaws in this Disney adaptation is that many of these adult themes of blame, desires, and right and wrong, which make Into the Woods what it is, are lost. Meryl Streep’s portrayal of the Witch is layered, engaging, and truthful. It would be easy for a less capable actress to play the Witch as one-dimensionally evil. How-ever, Streep’s performance brings humanity, wit, and compassion to the complex character. Emily Blunt is also particularly good as the strong, ambitious, and co-

medic Baker’s Wife. Blunt understands the comedic tone of Into the Woods, has a pleasant voice, and looks right for the role. Her moments are vibrant and warm, bringing life to the piece. For me, James Corden fell flat as the Baker. Though he has a sweet face and a charming accent, it seemed he did not truly under-stand the piece – and it showed in his lackluster per-formance. Lilla Crawford, known for playing Annie in the most recent Broadway revival, was remarkably good as Little Red, and Daniel Huttlestone (Gavro-che in 2012’s Les Mis) was delightful as Jack, despite a thick, sometimes incomprehensible accent. Chris Pine and Billy Magnussen were charming, handsome, and aloof as Cinderella and Rapunzel’s princes, just as they should be. But for me, the worst performance in the movie

was Anna Kendrick’s Cinderella. The character of Cin-derella in Into the Woods is somewhat different than in her usual tale. She is naïve and kind, but most of all, she is unsure and indecisive. Throughout the story, it is unclear if she even likes the prince. And by the end, she can see the consequences of her choices and has taken responsibility for her actions. But Anna Kendrick played Cinderella in a way that, instead of seeing the transformation of a shy, uncertain girl to a wise, nurturing woman, the audience questioned if she even wanted to be in this movie. Kendrick’s Cinderella is distant, cold, and as an audience member, it is difficult to shake her character Becca in Pitch Perfect. Ms. Kendrick is a very good actress, but she should stick to lighter, more contemporary pieces. Sondheim’s award-winning score is rich, layered and captivating, and, though quite a few important songs were cut, Into the Woods is an overall success, simply because it is always good for people to be exposed to such brilliant writing. Some of the standout songs are Little Red Riding Hood’s “I Know Things Now,” The Baker’s Wife’s “Moments in the Woods,” and The Witch’s “Last Midnight.” If you see this movie for no other reason, see it for the music. Generally, Into the Woods is an enjoyable movie. Despite a few dull actors and moments of weak singing, the film is entertaining. The loss of important themes is upsetting, but not surprising considering Disney’s typical movies. I would suggest all serious theatre fans watch the recording of the original 1987 production with Ber-nadette Peters, which is available at local video stores. Into the Woods is an incred-ible show with astonishing music and significant messages, but, as the Witch says, “Sometimes the things you most wish for are not to be touched.”

by Elizabeth Katz

Disney’s Into the Woods strays from the path

Room by Emma Donoghue tells the story of a mother and son whose lives have been spent within the walls of an eleven foot by eleven foot room. The action is told from the perspective of Jack, the five year old son who believes “outside” is just a make-believe world within TV. Every day, this mother-son duo spends their time carefully counting their meals, playing, and creating a list for their Sunday treat from Old Nick. As Jack grows older, he begins to discover that the outside world is real and just behind the locked door at the end of Room. Once they decide enough is enough, Jack and his mother hatch a plan to escape their confinement once and for all. Donoghue writes this novel in a way that can not be described briefly. Jack tells the story with a deep contrast between his innocence and the dark, disturbing reality that he is surrounded with; this creates an intriguing forum in which to read the book. The reader learns as Jack learns, and often the reader understands more than what Jack can yet grasp, but as with most books narrated by children, the gap between his understanding and the audience’s creates great tension throughout the plot. Donoghue’s characters are animated and extremely well-developed, producing a story that will keep the reader both smiling and crying the whole time. To feel and see the world from a child who has never seen sunlight is a reading experience like never before. Room is available in the Paducah Tilghman library and should be added to any reading list.

Donoghue gives readers “room” to think

by Rachel Benzing

Photo courtesy of Google Images

If you’re a fan of hip hop/soul, then J. Cole’s new album will pleasantly surprise you with a combination of intense rap verses and melodic choruses. 2014 Forest Hills Drive, released in December debuted as number one on Billboard’s Top 200 chart and is J. Cole’s most personal album to date. It tells the story of his tribula-tions, successes, and failures starting at adolescence and continuing to his adulthood. Unlike most rappers in their early lives, J. Cole had a humble upbringing and was a well rounded teenager. He has always been exceptionally bright which is mirrored in his complex rhymes and rhythms. He starts off the album by giving us a tour of his

early life in the song “January 28th,” his birthday. He continues his journey with “03’ Adolescence,” which describes his teenage years. These songs are a slower tempo and have a reminiscing vibe. He transitions to his adult life with “A Tale of Two Citiez,” describing his past friendships with people who were gang affiliated. J. Cole then speed things up and gets grittier with songs like “Fire Squad” and “G. O. M. D.” He shifts from storytelling to criticizing aspects of society as well as other artists. The final songs of the album start slowing down and reveal J. Cole’s emotional outlooks on love and his life as a whole. In “Hello,” he reflects on past relationships and ponders what he did wrong. This song is filled with soul and sets the pace for his final song, “Note to Self.” J. Cole closes the album with an optimistic tone and thanks all the people who’ve helped him produce and record the album.

by Jack Boyd and Hunter Golightly

J. Cole impresses with third studio album

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