Shawn K. Summerer, USC veteran and helmer of the Kentwood Players' production of "Into the Woods" at the Westchester Playhouse in Inglewood, implores the viewer in his director's note to "listen to the lyrics" of the Sondheim classic, closely and analytically, promising that this will leave said viewer with a "new perspective" upon exiting the house.

While the Trojan visionary clearly makes the most of what he's given with his venue and the talent he's assembled, it's not quite a breakthrough in world viewpoints and family psychology that the theatre-goer experiences after seeing this famous show; it's more an appreciation of the fact that, professional or amateur, theatre can be brought to a local neighborhood and stories can be told with the same sense of whimsy and passion that can be found on a Broadway stage -- but without the big budget and spectacle.

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The biggest thing to be commended on the part of the Kentwood Players is their ensemble, both on- and off-stage. It's clear upon surveying the patrons of the theatre that this company has built a steady following and consistent contributors to support these artists' efforts at creativity.

This is evident from the moment the house lights go out; Ben Lupejkis, playing the part of the charismatic Narrator, appears before the curtain to the sound of generous applause -- supporting the claim in his playbill bio that he is "very familiar to Kentwood audiences." Bearing the disposition of a well-known and adored master of ceremonies, Lupejkis acknowledges the season ticket holders in the audience -- of which there are many -- and proceeds to make the standard pre-show announcements of emergency exits and cell-phone silencing before transitioning smoothly into the famous galloping opening number of the musical.

Throughout the performance, patrons participate admirably, laughing, smiling, and gasping when necessary. Upon curtain call, the cast is greeted with an ovation that denotes what feels to be more of a pat on the back than an appreciation of excellence. Afterwards, the performers immediately exit into the lobby, where they are individually congratulated and received as if arriving at a family reunion. It's a very warm, comfortable neighborhood environment, unlike the meretricious air of presumption that one feels at a more upscale locale.

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Like all families, this one is clearly willing to give an "A for effort," despite the numerous technical shortcomings hampering the show. The actors, in keeping with the fantastical fairytale approach by Summerer to the script, all simply play characters -- that is, they appear to work toward nothing specific. They live in the circumstances of the stories to which they belong, true, and actively clarify what it is that their characters are working towards -- but it is not truthful. 

The only actor to personally inhabit her role and make the journey her own is Carly Linehan, delightfully Chenoweth-esque and chirpy (but with a biting undercurrent) as Little Red Riding Hood. All other performers depict the ideal versions of how we already perceive these characters to be. They do it well, but there is nothing new to be experienced, no "new perspective" to be gained. In particular, Elizabeth Bouton's Witch -- while being vocally impressive -- misses the mark due to a notably laborious onstage costume change and an overly ambitious send-off implementing the use of a trapdoor in the scenery, botched to embarrassing effect in the small space. "Into the Woods" is a relevant take on beloved stories on which we all grew up, meant to pry open our adult minds to the subdued messages to which we were so akin to dismiss and overrule as children.

Yet what saves the show is the pinpoint adherence to the demands of Sondheim's score. For all the acting mishaps and technical glitches, not once do the performers appear to deviate from the streamlined chaos of the music. Catherine Rahm's musical direction is superbly refined and well-rehearsed enough to allow the actors to focus on their performance and staging rather than hurrying to keep up with the infinite rhythm changes and tone shifting for which Sondheim is so notorious. It's not easy music to listen to, but it is pulled off admirably, and the show would not survive without it.

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To a first-time "Woods"-er like myself, the production is admittedly a bit disappointing, especially due to the recent frenzy of speculation over the show due to the pending Christmas film release. But because of the sheer overwhelming familial environment contained in the building within the bleak surroundings of Inglewood, I couldn't help but to eschew my critical analysis for a bit and reminisce on the good, forgivable times of neighborhood theatre. While the show is amateur, the showmanship and camaraderie couldn't be higher. To put it in Sondheim's words, it's clear that within the Kentwood Players, "no one is alone."

"Into the Woods" runs through Saturday, December 20, at the Westchester Playhouse (8301 Hindry Ave, Los Angeles, CA 90045). Performances are Fridays and Saturdays at 8:00pm and Sundays at 2:00pm. Tickets are $25 for all performances, with a $2 discount for seniors, students, and servicemen and women. To reserve or purchase a ticket, or for more information, call (310) 645-5156 Wednesday through Saturday from 4:00 p.m.-7:00 p.m., or visit www.kentwoodplayers.org.

Contact Staff Reporter Ryan Brophy here.