Step Into the Woods for an Evening of Absolute Delight at Gateway Playhouse

by Aimee Renna

One of Sondheim’s most famous works takes the stage once more, this time at the Gateway Playhouse in Somers Point, NJ. While the theater itself has a long history, the Gateway Playhouse is a newer established company that found its home here in 2017 after a beautifully done renovation. This production is double casted; I was able to attend the show on Saturday, September 27th, so the cast that I will be writing about are those that appeared that evening. From what I saw, I feel more than comfortable believing that both casts would be a delight to attend.

The cast is led by a robust production staff which features Director Philip Pallitto and Assistant Director Chip Garrison at the helm. Pallitto has created a beautifully clean and precise production with excellent pacing and clean transitions. This is also with the great help of Music Director Debbie Roland and Music Assistant Stephen Sheftz. With Sondheim’s complex compositions the success of the show is deeply dependent on the musical integrity of the score which was clearly admired by all of these leaders. Roland leads the pit as Conductor/piano, working with Robert Roland (Bass), Mark Spatz (Percussion), Josh Tostevin (Woodwinds), Jim Ward (Trumpet), Nick Sontag (Violin), and John DeRichie (Synthesizer). Choreographer Karen Cleighton adds her own appreciated flair to the show while acknowledging the subtlety of a minimal dance show. Technical Director/Scenic and Lighting Designer Peter Avagliano and Stage Manager Kimberly Tucker work closely together to successfully produce a seamless performance along with Sound Designer Mike Kropinack. The costume department made up of Costume Designer Julie Jackson, Seamstress/Costumes Karen Sutherland, and Tina’s Productions in Cherry Hill are greatly successful in bringing the characters to life. The production staff is completed by Backdrop/Animation Designer Christina Avagliano, Assistant Technical Director Jason Spatz, Scenic Artist Janelle Hawkes, and Production Assistant Gabrielle Shockley. 

Into the Woods features several interwoven stories as they try to accomplish their greatest wishes. Cinderella, Jack, Little Red Riding Hood, the Witch, and the Baker and his Wife are the pinnacles of these stories. Cinderella is played by Danielle Cordivari who brings an excellent depth to the character. Cordivari sings beautifully as she does this, successfully creating an extremely likeable character. The same happens with Jack, played by Nick Efstatos. With a character like Jack, it can be easy to play him as overly childish or naive, but Efstatos is able to walk the line while supporting a soothing melodic tone. He and Little Red, performed by Kacie Burnett, have an excellent rapport on stage. Burnett is a bubbly and energetic performer who brings a lovely breath of comedy to the show while also finding a rare earnestness in key moments. Teresa Bonilla, who portrays the Witch, is a powerhouse in the role. Bonilla is a fantastic vocalist conquering deeply complicated music with ease as she explores the depth of the character. The Baker is brought to life by the incomparable Timothy J. Koob who shares the stage with the equally wonderful Carli Smith-Mozeleski who plays the Baker’s Wife. These two work perfectly together while also finding their own moments of stellar independence. Koob’s rendition of “No More” is one of the most raw and genuine performances I have been lucky enough to see. Smith-Mozeleski stood out to me throughout but was particularly enamoring in her vocal prowess. These roles in the other cast are played by the following: Molly Pugliese (Cinderella), Jacob Perlman (Jack), Grace Long (Little Red), Brinley Edwards (Witch), Mike Palmreuter (Baker), and Rebecca Worthington (Baker’s Wife). 

These five characters interact with almost every other character throughout this fairytale, some of the most common including Jack’s Mother, Milky White, The Mysterious Man, the Narrator, and the Princes. Jack’s Mother is portrayed by the very funny Chikita Wallace who is able to provide a much appreciated comedic break to a few serious moments in the show. Milky White the puppet is controlled by Kira Finnegan as she pulls at the audience’s heartstrings through physical portrayal. The Mysterious Man is brought to the stage by Andrew Fralinger who has successfully created a deep connection with Koob that is visible to the audience while having the majority of his face covered. He also provides an excellent pair to Koob in the song “No More” both emotionally and melodically. Often, this character is played by the same performer as the Narrator, but I loved the separate depictions that A. Fralinger and Eric Meron (Narrator) are able to facilitate. Meron reminds me of “Man in Chair” from The Drowsy Chaperone in the best way, showing a deep adoration for each character on stage. Nathan Moore and Michael Moore, brothers both in real life and in their depictions of Cinderella and Rapunzel’s princes respectfully, constantly try to one-up the other with humor and charm. They are one of my favorite parts of the show because of the ridiculousness that they bring to the roles while commanding the attention of the audience (and every nearby maiden). These roles are played by the following people in the other cast: Stefanie Baccelliere (Jack’s Mother), Noah Baker (Milky White) Jason Reed (Mysterious Man), Scott Friedman (Narrator), Eric Willams (Cinderella’s Prince), and Jefferson Heller (Rapunzel’s Prince). 

The success continues with more supporting roles including Rapunzel, the Wolf, and Cinderella’s family. Rapunzel, played by Rebekah Tanis, is an angelic soprano who suffers a difficult life. Tanis’ light and effortless vocals are a stand out in the show with stunning control throughout. A similar control is seen in Isaiah Wilkins’ performance as the Wolf. His performance is humorous but dark, twisting the two together in excellent complexity. Cinderella’s family is portrayed by Kristann Dolinsky (Stepmother), Shannon Colligan (Florinda), Adriana Allen (Lucinda), and Tom Dalton (Father). Dolinsky’s performance accompanied by Colligan and Allen is an excellent caricature of the stepfamily and their impact on Cinderella. They are harsh and condescending all while providing moments of light comedy. Dalton follows this connection well as Cinderella’s only living blood relative, staying distant from his daughter. Cinderella’s mother, played by Lisa Weck, is a gentle guide for Cinderella, offering her a rare sense of  comfort. I appreciate that Weck appears on the projections as a spirit via live camera. It is a creative take on bringing the character to the story while acknowledging her current state. These characters are brought together in the other cast by Joanie Daigle (Rapunzel), Yoabey Dilan (Wolf), Camille Averso (Stepmother), Alyssa Mills (Florinda), Satya Byers (Lucinda), Gary Poetsch (Father), and ToniAnn Gisondi Pugliese (Cinderella’s mother)

The cast is completed by Patty Fralinger (Grandmother), Peter Martin (Steward), and Karen Sutherland (Giant). These three tie the story together with their relationship to the other characters. P. Fralinger exemplifies great comedic timing in her moments on stage. Martin provides a serious counterpart to Cinderella’s prince which further emphasizes the comedic quality of his superior. Sutherland’s depiction of the Giant is also shown with the help of the projection screen, allowing her to appear larger than life. Together these three complete the cast and provide a well rounded ensemble to the group. In the other cast, these roles are performed by Adriana Allen (Grandmother) and Ephraim Smith (Steward) while Sutherland remains the same in both. I did notice that Sleeping Beauty and Snow White were removed from the production (they have an EXTREMELY brief cross during the finale number) but did not think that their removal was any hindrance to the show. My only consideration to include them is that there are many tracks cut into several smaller roles and many of these performers could have covered these moments with no trouble. 

Overall, I found the cast to be profoundly magical. They moved through the story with excellent pacing, comedy, and earnestness all wrapped up into one. I have always found that Sondheim and Shakespeare are one in the same bag; often taken too seriously and not given the chaotic glamor that they deserve. This performance is high energy, even wild in some moments, and it is exactly how it was always intended to be performed. I love how closely these actors are able to work together and how comfortable they all seem on stage with one another. I hope that this sensational cast and their counterparts get to be seen by as many people as possible as they have plenty of performances next weekend from October 2nd to October 5th. Tickets can be purchased at www.gatewaybythebay.org .