Into the Woods
APR 27 – MAY 15 , 2005

Daily breeze
Torrance, California

THEATRE REVIEW
Civic Light Opera ventures Into the Woods
By Jim Farber
DAILY BREEZE

On Saturday, Civic Light Opera of South Bay Cities literally and metaphorically took its first steps Into the Woods. After 14 years of systematically avoiding the musicals of Stephen Sondheim, the company presented the composer-lyricist's fascinating fractured fairy tale Into the Woods with great success, featuring a cast (and musical performance) that was as vibrant as a Grimm's Fairy Tale pop-up book.

This is the musical where characters we've known since childhood (Little Red Riding Hood, Prince Charming, Jack and the Bean Stalk, Cinderella, Rapunzel and quite a few others) come to life in a happily-ever-after world in order to teach us some serious lessons about the less-than-happy real world we live in.

Simple though their form may be, fairy tales and myths have always served as a repository for humanity's dark visions, important life lessons and collective truths -- just ask Carl Jung. And it is this storehouse of stories and symbols that Sondheim, and his collaborator James Lapine, plumb so adroitly. The question is: "If you make a wish, and get what you wish for, are you grown up enough to accept the consequences?"

"I wish," is the propellant that drives Into the Woods as its panoply of characters set out on a quest to fulfill their desires. It's all about what happens to each of them as they venture into the woods of life.

At the same time, it is a miraculously musical journey woven together by Sondheim's unique ability to turn a phrase, divide a meter, spin a melody and enthrall the imagination.

Perhaps more than any other musical, Sondheim's creation requires an ensemble cast. Each character must be individually defined and expertly performed with a flair for mouthing rapid phrases with perfect diction.

It's also a musical that requires the audience members to come with their thinking (and listening) caps on. Words, words, words are the order of the day; words wedded to music. There is no place for a lazy listener in Sondheim.

CLOSBC's cast features many Into the Woods veterans. And it shows. Mary Gordon Murray, as the Baker's Wife, combines a Carol Burnett style of comedy with a lyrical singing voice. And while her wish is to have a child, it's her star-struck fantasies about royalty that cause her to stray when a charming prince crosses her path. The role of her long-suffering husband is played with compassionate zeal by Ira Denmark.

Tracy Katz Paladini plays Little Red like a girl from the 'hood. She's full of spunk with a caustic tongue and a ready blade that can cut any wolf down to size.

The twin princes (Robert Townsend and Gordon Goodman) cut a bold swath through the performance as they suffer the "Agony" of being terminally charming. Kim Huber is genuinely charming as Cinderella. Her transformation from house drudge to Queen of the Ball is one of the musical's delights.

Daniel Frank Kelly is perky and bright of voice as dim-witted Jack who brings havoc on the community by inciting the "Giants in the Sky." Brooks Almy has fun as his martinet of a mother.

The role of the narrator who guides the action from point A to point Z is played and sung skillfully by Kevin Cooney.

When Into the Woods opened on Broadway in 1987, the role of The Witch was performed by Bernadette Peters. Here the role is played by Yvette Cason, a bluesy singer who is clearly still finding her way, vocally and dramatically. She's got a great cackle -- right up there with the Wicked Witch of the West.

The production's director, Glenn Casale applies a sure hand to the musical's intricately interweaving action. And the difficult task of keeping Sondheim's melodies, lyrics and metric structures purring is skillfully handled by music director-conductor Steven Smith.