Review: A DELIGHTFUL 'INTO THE WOODS' at Contemporary Theater Company

Into the Woods is a magical work. This multiple-Tony-winning show features some of Sondheim's most gorgeous music and lyrics and a clever book by James Lapine. The Contemporary Theater Company has mounted a crisp, stylish production with outstanding voices and a talented ensemble. Get yourself to Wakefield for this one. It's a delight.  

Suspend disbelief for an evening of fairy tale logic. The Narrator (Susie Chakmakian, who brings a charming self-awareness) sets a village full of wishes in motion at the edge of the woods. Yes, those woods. The woods of magic and mystery. A childless Baker (James Stacey, who deeply inhabits this complex role) and his Wife (Brittany Thompson, a touchingly real performance) learn from the Witch next door (Lauren Katherine Pothier, with powerhouse vocals) that the curse on their house can be lifted only if they collect a set of magical items. 

That side quest runs them straight into everyone else's story. They cross Jack (Alessander Garcia, perfectly, utterly gormless) and his exasperated mother (Sydney Hermanson, charmingly put-upon), who makes him take his beloved cow to market—which the Baker buys with magic beans. As in the recent NY City Center/Broadway outing, the cow is done as a skeletal puppet, worked to brilliant effect by EJ Caraveo. Seriously, the cow—and Caraveo's performance that brings it to vivid life—are standouts.

We meet other stories already in progress. Little Red (a heartfelt turn by Ardemis Kassabian) is waylaid en route to Grandmother's house by a hungry Wolf (played with lip-smacking menace by Kyle Ferreira). Cinderella (Alaina Mueller, who delivers an outstanding vocal turn on "On the Steps of the Palace") surrenders a slipper, fleeing the festival and her Prince (an endearingly over-the-top Neil Motta). Locked away in a tower by the Witch, Rapunzel (Nellie Horvath) is pursued by her own prince (Ferreira again). The princes' duet, "Agony," is a delightfully staged back-and-forth with just the right notes of tongue in cheek humor, while Rapunzel and the Witch have a touching parent-and-child number, "Stay with Me."

By intermission everyone has, more or less, gotten their wish—which is exactly where Sondheim and Lapine decline to stop. Act Two eviscerates the "happily ever after" trope with surgical precision; if it helps, remember that real fairy tales—as opposed to their sanitized cartoon versions—often tell difficult stories. The Witch will remind you in one of the second act's standout numbers, "Last Midnight."

Fine performances all around. You'll believe Cinderella's family—a note-perfect stepmother in Mariah Trepes, and evil sisters played with haughty relish by Kenney Knisely and Caleigh Belle Pearce. Carson Pavao brings real moments to the small but pivotal role of Steward. Ron Giles wanders around as the wonderfully befuddled Mysterious Man. And Tina Moore brings authentic New England charm to her Granny (and doubles as the Giant).

Because the tone of the show is so magical and fourth-wall-breaking, it works superbly in the corner of the Contemporary's black box, with entrances and exits all over the place, and the cow snuffling around in the aisles. Maggie Cady has directed this with a sure hand, keeping the action moving while giving songs and beats appropriate breathing room. Cady started with a talented cast, and gets excellent performances from everyone. It's clear Cady understands the magic at the heart of this show: the intricate puzzle of a plot, the feisty cleverness of the lyrics, and the deep tragedy behind it all. Cady gets all of it. And this cast delivers, both acting and vocals. 

And Paula Glen, the music director, brings the essential other half: coaching excellent vocal performances from this exceedingly capable cast while making Sondheim's challenging score work in a stripped-down form (Glen doubles as production pianist, in a tight pit band with Jenny Collins on trumpet and Catherine Livolsi and Ann-Frances Rokosa trading off on violin). This is not the easiest score to find your note (or your entrance...), but at the performance this reviewer attended, every entrance was clean, every note just right.

The simple set—a few trees, a brick parapet—and a handful of props all match the tone nicely. (You might want to take a close look at what the trees are made of...) Ben Blue's lighting design is effective and manages some nice isolation effects even in this cramped space. Marissa Dufault's costumes work well across the company, which spans the complete range from country folk to princesses. And they're all believable. The choreography, by Ardemis Kassabian, is organic and effective, making excellent use of the tight space in those larger numbers.

This is a fine production of one of the gems of musical theater, suitable for all audiences. If you know the score note-for-note, you will not leave disappointed, and if you are just dipping your toe in Sondheim, this is the perfect first show, and you are in for a truly special evening. Highly recommended.

Into The Woods, Contemporary Theater Company, 327 Main Street, Wakefield, July 10-11, 17-18, 23-25 at 7pm; Jul 12 & 19 at 2pm, tickets $35 ($10 for under-25) at www.contemporarytheatercompany.com or by calling 401-218-0282.

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