Vanguard goes well ‘Into the Woods’
Tom Titus
Let’s not mince words. Vanguard University’s production of Stephen
Sondheim’s “Into the Woods” is as good as local theater gets --
perhaps better.
Director Amick Byram’s beautifully realized production of what
arguably is the prolific Sondheim’s masterwork deserves far more time
than its brief two-weekend engagement in the college’s Lyceum
Theater. This show should run for a month or two, at least.
Few musicals offer so many opportunities for excellence, and few
are served so completely as is “Into the Woods” in the hands of
Vanguard’s ensemble. Sondheim’s memorable fairy tale characters
stretch the boundaries of comedy, musicality and poignancy, and this
excellent cast is assuredly up to the challenge.
Vanguard’s artistic director, Susan K. Berkompas, takes on the
leading role of the witch and sets a lofty standard for her student
castmates, which most manage to attain splendidly. Berkompas’
first-act characterization, under hideous makeup, is a shrill,
cackling harridan, which makes her transformation into her very
attractive self that much more effective. Her flashing eyes, once the
spell is lifted, are a particularly potent character feature. So is
her beautiful singing voice -- her “Last Midnight” solo is a
showstopper.
Paul Hanegan excels as the baker, spearheading the search for a
witch’s potion in order to have her spell lifted so he may become a
father (got all that?). Caitlin Macy-Beckwith turns in a gem of a
performance as his meddling wife, whose seduction by the
smooth-talking prince is one of the show’s highlights.
The role of Cinderella is beautifully interpreted by the
golden-voiced Sarah Grandpre, who ascends from kitchen waif to
princess and yearns for “something in between.” Steve Limones lends
juvenile angst as the young Jack, torn between pleasing his impatient
mother (a very good Kristie Clark) and his affection for his cow.
This latter role, of the recalcitrant bovine, isn’t even credited
in the program (some productions use a wooden cow on wheels), but in
the unseen hands of Julie Renfro, “Milky White” becomes a beautifully
characterized element and a terrific show stealer.
Michael Mulligan shines in a pair of roles, first as the ravenous
wolf and later as Cinderella’s princess. He and his brother prince
(Jeff Fazakerley) flaunt their masculinity in the two hilarious
“Agony” duets. Mulligan’s wolf mask, by the way, is as realistic as
any you’ll see in a production of this show.
As the bratty Little Red Riding Hood, Jennifer Nelson gets off
some of the show’s funniest lines, bringing the show back down to
earth (“You talk to birds?” to Cinderella, for instance). Danielle
Melilli is a radiant Rapunzel, warbling high notes more often than
speaking dialogue.
Mike Bower is a coy intellectual presence as the “mysterious man”
who pops up from time to time, while Stan Jones is a well-coiffed,
polished narrator who finds himself thrown (literally) into the
action. Cecilia McClelland is a haughty figure as Cinderella’s
mother, raising a pair of social misfits (Kristi Nolf and Colleen
Warner).
Amy Maier really has her hands full, playing the spirit of
Cinderella’s mother as well as Little Red’s granny and voicing the
menacing wife of the giant. As if that weren’t enough, she also
choreographs the show -- guiding the entire ensemble through the two
complex act-closing numbers -- and is credited as a scenic artist.
Tony Console enacts the prince’s prissy steward in a tiny but pivotal
assignment.
Sondheim’s themes of desire, desertion and ultimate forgiveness
are gloriously played out against a small but effective backdrop
(designed by the Mulligan brothers, James and Michael) and some
terrific costuming and makeup effects by Lia Hansen.
Vanguard University can take immense pride in this production,
outstanding on all levels. Audiences have just this weekend (unless a
well-deserved holdover is announced) to catch what should be the
finest piece of local theater they’ll enjoy this year.
* TOM TITUS reviews local theater for the Daily Pilot. His reviews
appear Fridays.
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