Theater booms with energy, volume, dynamism

After seeing Tom Logan’s production of “Into the Woods” last night at the Penobscot Theatre, I am still woozy this morning with the lively music and enchantment of the show. And that’s not praise that comes easily from me. I’m a die-hard Sondheim fan, and “Into the Woods” is my favorite musical in the world. I happily know every word to every song, and could probably sing it backwards. The characters are completely real to me, like old friends gathered for a class reunion. When it comes to Sondheim, I’m a little girl again: agog and giddy. Obviously.

That’s why I liked Logan’s show. The thoroughness and sparkle of the fantasy appealed to the youngster in me, and the complete embracement of the darker, more cynical side of the show appealed to the grown-up in me. Unlike the directors of the chintzy and saccharine touring show that came to the area a few years ago, Logan sincerely caught the full breadth of Sondheim.

Music director Richard Pasvogel, with percussionist William Wiley, kept the pace fast and the singers crisp, as they have been in Sondheim’s Broadway productions.

Along with set designer Pam Martin, Logan transformed the small theater into a lush, dark and threatening woods by lining the walls with trees, greenery, flowers and stumps. So packed was the scenery that the actors occasionally stumbled trying to get to their places on time.

With the use of sparse but clever set pieces, and a whole lot of give-it-your-all acting, the show really came to life.

Few will soon forget the Stephanie Laite Lanham in her savvy performance of the Baker’s Wife, or the hilarious repartee between Todd Greenquist and Sam Lanham as the agonizing princes. (Greenquist does a foxy double as the Wolf, too.)

Amy Torrey has successfully pushed her acting talent to a new level with her pesky, wide-eyed portrayal of Little Red Riding Hood. From the ring lets on her forehead, to the tips of her old-fashioned boots, she was fully in the adventure of Red Riding Hood.

Scott Stanley, as the Baker, has a knack for comic timing, as well as tender emotion, and moved nicely between the two with his endearing character. And no one could be any more sweetly daft than Timothy Bate as Jack (of the beanstalk fame).

These six actors, plus Kimberly A. Horn as Cinderella, represent the principal singers for the show, and they blended their strong voices beautifully and carefully.

More than two dozen actors made up the full cast, and when they were all onstage, the theater boomed with energy, volume and dynamism. Keith Chew, as the narrator, was hearty with his voice and presence. Cinderella’s wacky family came as a package deal whenever it was onstage, and was a hoot of a sideshow, particularly with the schtick going on between surreal-looking stepsisters Francesca Jellison and Audrey Swanton.

Judy Savage, Karen McCall, Leslie Adams and Sandy Pasternak added much verve to the show in their supporting roles.

Peg Welch, as the Witch, had plenty of well-made moments, but if there was any shortcoming of the show, it was the lack of rapport between her and Bridget Larson as Rapunzel. There was no real depth to their mother-daughter relationship, particularly in what should be one of the show’s most wrenching songs, “Stay With Me.” Larson is a better singer than actor, and the discrepancy weakened her scenes. In a similar fashion, David Pooler missed the mark as the Mysterious Man, another important role that wasn’t developed as such.

Costumes by Patricia Button relied a bit too much on the prom-dress look, but were generally quite nicely fashioned. Without the fantastic wigs provided by George Miller, however, the show would definitely have lacked the fine-tuned quality of a fantastical story book.

Choreographer Aundrea Wilkes kept the action simple and sharp, which was absolutely in keeping with spirit of the show.

It’s no secret that this is not exactly a “children’s show.” Some of the elements — particularly the sexual nuances and several deaths — won’t appeal to everyone, and, in fact, may even offend a few. But for most, it’s sure to be an adult’s romp in some very old stories about adventure, danger, family, and the ever-saving quality of love.

“Into the Woods” will be performed 8 p.m. Aug. 6, 7, 12-14 and 2 p.m. Aug. 8 and 15. For reservations, call 942-