Among those who love musicals, few feel lukewarm about the works of Stephen Sondheim. You love him, or you hate him. In 1987, when “Into the Woods” hit Broadway, many of the haters decided to give Sondheim another chance. They dressed up their kids and traipsed hopefully off to the theater. This was, after all, about fairy tales. Even Sondheim couldn’t make Cinderella, Rapunzel, Prince Charming and giants acerbic, atonal or (and this is the accusation most often associated with the composer) unhummable.

But, of course, he did. And his true-blue fans — that is, those who favor his peculiarly acerbic and atonal hummability — loved it. So whenever “Into the Woods” shows up in local theaters, as it has several times in the last 10 years and is now being performed by the University of Maine, Sondheim fans swoon with excitement.

They don’t mind that this postmodern adaptation of traditional fairy tales takes death and loss as one of its major themes. Or that Prince Charming has an extramarital affair, that Rapunzel goes mad, and that the whole show is a metaphor for the way childhood dreams can be turned into adult disappointments. They also don’t mind that the show ends on an entirely hopeful note that has everything in the world to do with community, responsibility and, yes, love.

They may also not mind some of the bumpy paths this production takes. UM director Tom Mikotowicz is clearly having fun with the nuttiness of this story. He has people popping out of trapdoors, and props that take on lives of their own. Although the pacing isn’t always as rollicking as it should be, many moments in this show are filled with energy and spunk. Just not enough of them.

Also, Mikotowicz is technically ambitious, and his enterprising ways, while admirable, sometimes detract from the smooth unfolding of the show. For instance, Mikotowicz invested mightily in a miking system. When it works, it’s a charm. When it doesn’t work, it’s distracting and maddening. You might find yourself wishing the show would take fewer technical risks and more acting ones.

Clearly, these kinds of kinks — as well as some jerkiness in Lud Hallman’s orchestra — which interfered with opening night, will be worked out by the weekend. Then, theatergoers can get down to the business of enjoying the fresh singing voices of these students.

Joelle Kam Leavitt, as Cinderella, has a voice like creamy honey, and her wholesome stage presence is sweet, honest and inviting. Matthew Vire, as the Baker, is also a charmer whose humor combines effortlessly with compassion to present a well-formed character. Todd Daley’s Prince Charming is similarly reliable and appealing, and his scenes with Nicholas Charron, as Rapunzel’s prince, are the most amusing moments of the show. (Daley doubles, too, as the Wolf — and does a marvelously slimy bump-and-grind job with that role, too.)

As Little Red Riding Hood, Cheryl Robitaille is saucy and bright. The team of Maida Rollins, Emily Ann Cain, Jenna Davy and Sean Edgecomb, as Cinderella’s scamming family, is cartoonishly entertaining. Luke S. Hedger, as the narrator, proves himself once again to be an elegant singer, and Elena M. DeSiervo-Simpson, as the witch, has a knockout voice. (Be sure to check out her platform shoes — it takes some major magical powers to run in those babies.) Kelly Sanders turns the baker’s wife into too much of a brassy nag, and Trevor Bean’s shy Jack (of beanstalk repute) is often too docile to be heard, but each contributes some pluck to the show.

The best times of this production involve the full cast at full throttle — including Christine St. Pierre (Jack’s mother), Kelly Caufield (Granny), Jane Maranhas (the sopranoizing Rapunzel), Ric Sechrest (the steward), and last minute — but by no means unnoticed — cameos by Katie Thibodeau and Emily Burns (Snow White and Sleeping Beauty).

Wayne Merritt’s set of cloth art depicting forest images creates an impressively expansive feeling. Jane Snider’s costumes are a quirky combination of the beautiful and the bizarre. And Ann Ross’ choreography is simple and easy.

Anyone who knows “Into the Woods” may long to see the actors go another step in the dramatic development of their roles. Not the type of TV sitcoms, but of good stage practice. Nevertheless, the Maine Masque offers a merry-go-round of Sondheimian gambols and gambles.

Maine Masque will perform “Into the Woods” 7:30 p.m. Feb. 19 and 20, and 2 p.m. Feb. 20 and 21 in Hauck Auditorium at the University of Maine. For tickets, call 581-1755.