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.