Once Upon a Time

Into the Woods

Just imagine, if you will, that Once Upon a Time the characters from your favorite childhood fairy tales all lived in the same neighborhood? Suddenly those familiar stories would begin to blend together as Cinderella, her Stepmother and Stepsisters, Little Red Ridinghood, Jack (of the Beanstalk fame), his Mother and their cow, Rapunzel and and the Witch, and other familiar characters, all interact in order to survive their everyday magical existence. Like us, every character has a wish, and those yearnings affect everyone around them. They all learn that they must journey into the forest, around tall trees, down shadowy paths, into deep ravines and back up into the sunlight in order to achieve what they want. But once upon a time there’ll be sacrifices and losses, both of love and of loved ones. 

Stephen Sondheim’s lush, symphonic score with its sharp, exquisite, often humorous lyrics, is filled with clever internal rhythms and rhymes. Even the incidental music is both melodic and haunting. The songs enhance book writer James Lapine’s brilliant interweaving of these familiar stories and propels these beloved characters forward on a journey of growth and self-discovery. In the frothy first act it’s mostly light and laughter, as spells are cast and wishes come true. But the musical does an about-face in Act II, offering a darker, much more sobering and thoughtful story line. In the end, the journey taken is simply magical, for both the characters and the audience. Paramount’s delectable and dynamic new production is another offering from a theatre that keeps topping itself with glorious, inventive presentations. “Into the Woods,” however, may be its finest show to date, and that’s saying a lot.  

Multitalented, Jeff Award-winning Artistic Director Jim Corti has teamed up with Director Trent Stork to create this sumptuous, jaw-dropping new production of the 

Sondheim/Lapine musical classic. Together with Choreographer Kasey Alfonso, this production team has skillfully guided their talented, 24-member cast to crowning glory. Thanks to some fine leadership by Music Director Kory Danielson, and an  outstanding, full-sounding 16-piece pit orchestra, this musical has never sounded better.

 Some very exciting state-of-the-art technical support makes this production appear especially Broadway quality. The cast becomes storybook folk with the help of Jordan Ross’ beautiful, often whimsical Costumes, highlighted by stunning Wig, Hair and Makeup Designs by Katie Cordts. Jeffery D. Kmiec’s unbelievably beautiful Scenic Design is enchanting and artistic, particularly amidst the ever-moving, overgrown forest and two castle towers that frame the stage. Then his setting magically turns darker, frightening and almost ghostly in the second Act. Some of the credit for the special effects are thanks to Adam Rosenthal’s solid Sound Design. The stage picture is highlighted by Jose Santiago’s breathtaking Lighting Design upon which Paul Deziel’s magical Projections miraculously ebb and flow. Watch carefully for all those tiny points of light that seem to float throughout the woods. Are they fireflies? Or perhaps they’re actually fairies! 

Mr. Corti’s brilliant cast is led by a company of unbelievably gifted actors. Stephen Schellhardt, who’s always brilliant in any role he plays, is truly at the top of his game here, as the Baker. Such nuance and depth he brings to this role. And Sarah Bockel is absolutely magnificent as the Baker’s Wife. With so much honesty, humor and layer-upon-layer of humanity, this stunningly lovely actress gives the best performance of her career. Together and individually they sing the heck out of Sondheim’s score. Their search for a way to satisfy the witch in order to have a child (“It Takes Two”) establishes them as the show’s protagonists. Now, this married couple, who share such great chemistry together as husband and wife, also argue and quarrel with each other, but they also recognize their own faults and mistakes. And despite their differences, the audience knows that, in the end, the Baker and his Wife truly love each other completely.

Natalie Weiss does a fine job in the challenging role of the Witch. The actress sings beautifully, although she seems a bit young for the role. Alternately bitchy diva and sensitive parent, Ms. Weiss’ voice caresses Sondheim’s difficult music with skill. Especially captivating are her duets with daughter Rapunzel (sublimely played by lovely Molly Hernandez, whose exquisite voice haunts this musical), in particular “Stay with Me.” Another fine performance comes from Lucy Panush as a precocious and pretty independent Little Red Ridinghood. This little girl has a taste for both violence and baked goods, and her deadpan takes provide for much comedy. Will Koski makes his first Chicago area appearance as an innocent Jack. This tall man-child is devoted to his best friend, Milky White the Cow (one of several delightful puppets designed by Jesse Mooney-Bullock, and skillfully operated by poker-faced Adam Fane). He also love and obeys his dear, doting Mother (delectably portrayed by the always wonderful Christine Bunuan). Through a series of dramatic events, both youngsters grow from children into wise adulthood by the end of the play.

Fresh from the Lyric Opera’s production of “Fiddler on the Roof,” accomplished singer, Hannah Louise Fernandes makes her Paramount debut as an alluring Cinderella. Her family is comprised of the ever versatile Dana Tretta (playing the spirit of the girl’s deceased Mother, Little Red’s Granny, as well as the booming voice of the Giant), comely Kelli Harrington, Landree Fleming and Ann Delaney, as Cinderella’s selfish Stepmother and two Stepsisters, and Nnamdi K. Nwankwo as the young girl’s heck-pecked Father. Two of the comic highlights of this production are Devin DeSantis, as Rapunzel’s Prince, and Alex Syiek, as both Cinderella’s Prince and the Wolf. These two talented actors mine every ounce of humor out of their scenes, and especially in their splendidly sung duet entitled “Agony.” And fresh from the Goodman’s “A Christmas Carol,” the majestic and mellifluous-voiced Larry Yando brings mystery and intrigue to his portrayal of the Narrator and The Mysterious Man.   

“Into the Woods” brims with beautiful performances, gorgeous music and songs filled with sly naughtiness (“Hello, Little Girl”), hilarious hyperbole and juxtapositions (“Moments in the Woods”), lessons to be learned (“I Know Things Now”), and lessons that sometimes need repeating (“Children Will Listen,” “No One is Alone”). This magical production is about the consequences of having wishes fulfilled, learning what it means to grow up, having to accept responsibility and remembering the fragile relationship that exists between parent and child. This production will melt the heart of even the most hardened adult and charm the child out of any cynical grownup. As the Baker’s Wife sings, “That’s what woods are for: for those moments in the woods.” Everyone who’s able to take this Once Upon a Time journey into the woods, will leave the forest so much better for these moments.

Highly Recommended

Reviewed by Colin Douglas

Presented February 1-March 19 by by Paramount Theatre, 23 East Galena Blvd., Aurora, IL.

Tickets are available in person at the Paramount Theatre box office, by calling 630-896-6666 or by visiting www.paramountaurora.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.