Review: Paramount creates stunner in ‘Into the Woods’

Stephen Sondheim’s “Into the Woods” is a fantasy, a quest, a musical – and I cannot think of a better venue to present it than the Paramount Theatre in Aurora. Directed by the multi-award-winning duo of Jim Corti and Trent Stork, this production is nothing less than spectacular.

”Into the Woods” intertwines the plots of several Brothers Grimm fairy tales, slightly retold and reimagined, with book by James Lapine and music and lyrics by Stephen Sondheim.

The musical premiered on Broadway in 1987, and won three Tonys: Best Score, Best Book and Best Actress for Joanna Gleason. In 2014, the Disney film adaptation grossed $213 million, and was nominated for both an Academy Award and a Golden Globe. And last June, to honor the memory of Stephen Sondheim, the second Broadway revival of the show began.

”Into the Woods” is the story of a childless Baker and his wife – infertile from a witch’s curse because the Baker’s father stole her vegetables and those infamous magic beans. The curse only will be lifted if the witch is brought four ingredients: the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold before the chime of midnight in three days time. Along the journey and with the help of the Narrator and the Mysterious Man, you’ve probably figured out they meet Cinderella, Jack and Little Red Ridinghood, and all experience the consequences of their wishes.

Corti and Stork have cast brilliantly: veteran performers, as well as actors making their Paramount debuts. They’ve collaborated with choreographer Kasey Alfonso, whose dances seamlessly flow with the magnificent musical direction of Kory Danielson and a live 16-piece orchestra playing the full-length original score. And let’s face it, when it comes to rhythm, stress and inflection, Sondheim ain’t easy.

The production all unfolds on the magically astounding forested set of Jeffrey D. Kmiec, with incredibly impressive and effective lighting, projection and sound by José Santiago, Paul Deziel and Adam Rosenthal. Continuing the production’s extravaganzas are the amazing puppet designs of Jesse Mooney-Bullock; Katie Cordts’ lavish wig, hair and makeup design; and the sparkling, joyous costumes of Jordan Ross. This Paramount production’s visual components are a true fairy tale.

The ensemble of 24 is, in a word, flawless, and all are introduced in the opening number, “Prologue: Into the Woods,” which Sondheim himself admitted was particularly complicated.

From the moment Larry Yando, that elegant Chicago theater favorite, steps onstage to lengthy applause and cheers to begin as the Narrator and Mysterious Man (and he is, as always, wonderful of voice and expression), you are captivated and transported to another realm.

“American Idol” semifinalist and renowned vocal coach Natalie Weiss is a flamboyant villain you almost feel sorry for: the passionate Witch. Weiss possesses the needed huge and luxuriant voice.

As the song says, “It Takes Two,” and fortunately for this production, it’s the incredible acting talents of Stephen Schellhardt and Sarah Bockel as the Baker and Baker’s Wife. Their chemistry is credible, subtle and engaging; they also look their parts and are real. Bockel’s Baker’s Wife is an independent, strong, lovely character, and Schellhardt is an eager, honest man of integrity. They both are superlative singers and lift the show on their shoulders poignantly.

Will Koski’s Jack is an innocent of sunny disposition, whose beloved pet is also his best friend. Koski shows a nice character transition, especially in his solo “Giants in the Sky,” and the argumentative “Your Fault.” Lucy Panush strongly portrays Red Ridinghood, who goes from an adorable eater to a ferocious defender. Both Koski and Panush are making their Paramount debuts, and have a calming chemistry together. Hannah Fernandes makes the character of Cinderella an intelligent, thinking woman (“On the Steps of the Palace”), who, admittedly, does take a lot of spills. She gives Cinderella a new perspective – someone that you’ll really like.

You might ask yourself how there can be standouts in an ensemble of standouts? Well, there are. Especially Alex Syiek and Devin DeSantis, who portray Cinderella and Rapunzel’s princes. In tandem or alone, they are scene-stealers; from a flip of the hair to a conceited, seductive pose, they provide much of the comic relief. It helps that their voices intertwine and soar in their duet “Agony.” Syiek also appears as the wolf (AWHOO) and is evilly funny in his song “Hello, Little Girl.”

Kelli Harrington, Landree Fleming and Ann Delaney as Cinderella’s stepmother and stepsisters are enviably, pretentiously glittery and delightful every time they hit the stage. Christine Bunuan as Jack’s Mother is a petite dynamo of voice and energy, and when paired with Koski’s Jack, there is humor in their size differences. And Adam Fane’s quiet presence behind Milky White is masterful and sweetly believable.

The production is also blessed with the beautiful voices and impressive appearances of Dana Tretta ensconced in a tree as Cinderella’s mother, and Molly Hernández as Rapunzel, dramatically imprisoned in the tower. (She’s a great screamer and note holder.) Tretta also puts in a brief appearance as Red Ridinghood’s vengeful Granny.

Recognition must be given to the enthusiastic Dakota Hughes as the Steward, Nnamdi K. Nwankwo as Cinderella’s father, and hardworking ensemble members Marta Bady, Grace Bobber, Alanna Chavez, Darian Goulding, Sophie Grimm and Ryan Stajmiger.

“Into the Woods” is a lengthy production, clocking in at three hours. In typical Sondheim fashion, Act One ends happily and you almost could end the show there, but stay tuned for Act II, when reality intrudes and themes shift dramatically. As Artistic Director Jim Corti states so eloquently: “For as fantastical as this storytelling is, and however stunning its aesthetic, it’s the humanity of this piece that will linger with you as you travel home. That’s the thing about Sondheim. He’s telling the story of our lives and always beautifully.”

Sondheim believed in his finale song, “No One Is Alone.” Thank you, Paramount for proving it so magically.

(The musical is suggested for ages 12 and up because of violence and loud noises.)

• Regina Belt-Daniels regards Stephen Sondheim as the father of modern musical theater. His “Gypsy,” “Sweeney Todd,” “Follies,” “A Little Night Music” and “Sunday in the Park with George” are continual favorites. When not writing theater reviews, Belt-Daniels can be found backstage or onstage somewhere, or traveling with her husband.

IF YOU GO

WHAT: “Into the Woods”

WHERE: Paramount Theatre, 23 E. Galena Blvd., Aurora

WHEN: Wednesday through Sunday until March 19

INFORMATION: paramountaurora.com, 630-896-6666