INTO THE WOODS

A Stephen Sondheim musical is always a challenge for companies and audiences. His intricate music and lyrics and adult themes are a natural progression of a deconstructive society from Romberg through Rodgers & Hammerstein. Into the Woods is typical of Sondheim's shows. Deceptively about the intermingling of several fairy tales, the musical becomes an allegory of the difficulties of modern living. In this show, "happily ever after" is code for "live with your choices and deal with the consequences." I've very rarely seen this show completely succeed. The first act is always a quick-paced pleasure, the second an emotional muddle. Such is the challenge faced by Phoenix Theatre and Director Michael Barnard. The good news is that the cast is generally impressive, the music well-handled, and the design element engaging. The bad news is that after the nearly three-hour investment in an excellently produced show, I still felt maddeningly untouched emotionally, despite every valiant attempt made by the ensemble. I'm beginning to think that emotional success for a production of this script is as rare as a magic bean.

Mr. Barnard has utilized his broad talent and theatrical knowledge to make this a visually and vocally entertaining evening. His choreography is as excellent as ever, and his pacing is full-tilt. He has jammed many visual and vocal gags into the piece, heightening the level of enjoyment. Ron Colvard has made the difficult task of musical direction look easy, leading both ensemble and orchestra nearly flawlessly.

The performers are nearly all excellently cast. D. Scott Withers and Beth Anne Johnson are wonderful linchpins as the Baker and his wife. Mr. Withers is very jokey in the first act, offering endearing pratfalls and whimsy, and when he and Ms. Johnson begin their maturation, his growth is well-presented. Ms. Johnson is in full-voice, and is easy to love as the strong-willed wife. Kristen Drathman is a hilarious Witch. With what seems to be a generous tip of the hat to comedienne Carol Kane, this Witch is not above physical humor and whiney protestation. When she comes to her powerful pronouncement, "Last Midnight," she is full of high emotion.

Nick Cartell is an excellent Jack, making his character's ninny-noddle ways second nature, while belting "Giant in the Sky" with great power. Stephanie Likes is excellently cast, though utilizing the oft chosen squeaky voice for Little Red Riding Hood is detrimental to her presentation. Natalie Ellis' Cinderella is very engaging, and lovely of voice, but it is as she returns to the forest in the second act that she really comes into her character. It is her performance that nearly helps the finale succeed. Susan Goeppinger is great as Jack's mother, doling out wisdom and head-smackings with equal aplomb.

The remainder of the ensemble has its highlights, and a few disappointments. Scott Schmelder is excellent in his duel roles of Narrator and Mysterious Man. The two princes are oddly cast. James Zannelli doesn't look like a prototypical Prince Charming, and his self-centeredness is more played at than true, but he has a gorgeous voice that melts any questions about his choice. David Jones is more of what you'd expect from Rapunzel's Prince, but his voice is not as strong when placed next to Mr. Zennelli during their hilarious duets. It's great to have borrowed the concept of an actor portraying Milky-White, and Jeremie McCubbin plays it for all the laughs he can. The greatest disappointment comes from Chris Eriksen as the Steward; he is nowhere near powerful enough acting in the small-but-pivotal role.

The design element is enchanting. Greg Jaye's set is a sumptuous moveable feast of sliding metal flats, a revolve and a turning tower, moving platforms, and many differing playing levels. Paul Black's lighting, while sometimes a bit too dark, is a moody affair that adds volumes to the visual elements of the show. Connie Furr's costumes are beyond reproach, especially her transformation of Ms. Drathman from Witch to Victoria's Secret model. David Temby's sound design encounters many small microphone problems that will invariably smooth out through the run, while Manuela Needhammer's hair and make-up design is well-executed.

By the end of the very enjoyable first act, I hoped that this production would succeed where most others have failed, but by the end of the evening, I felt spent, not emotionally lifted. I'm not sure there's anything to blame on this excellent production. The performers and designers have tried their very best, and most of the evening is enjoyable for it. I still highly recommend this production for its many excellent points ultimately overcome the few niggling problems.