Let me say that I have never been a big Steven Sondheim fan and "Into The Woods" has never been at the top of my list. I have seen it three times, once on Broadway, and have always been underwhelmed. Let me now say that Broadway By The Bay's "Into The Woods" gets my standing ovation. They knocked it out of the ball park with a super cast that sings every number of this the difficult score with utter perfection. Whoever did the casting should be given an award. I have a hunch director Brook Knight had a hand in the auditions. Much of the credit for the fine outcome goes to Knight. Her attention to detail, costuming and staging is worthy of the highest praise in her field.

The story is about neurotic fairy tale characters, from a self-centered Little Red Riding Hood to Jack (of the bean stock fame) who is a mama's boy, to a witch who raps and a couple of handsome princes with raging hormones. Everyone gets their wishes by the end of a very long first act. The second act shows the consequences that must be paid for by our actions.

Chad Bonaker's lighting along with Bill Carrico's sound make the show a delight to watch and hear. Robin Tribuzi's choreography is just right without being overwhelming. Conductor Rick Reynolds heads up a fine orchestra that delivers a difficult score that boosts the production to new heights.

For the best bargain in musical theater, a subscription to Broadway By the Bay can't be beat and "Into The Woods" is an example. Great ticket prices, free parking and close enough to keep the gas consumption down.

They take it all off

Transposed from the 1997 funny British film to 2000 - with 10 Tony Award Nominations on Broadway - "The Full Monty" is transferred to economically downtrodden Buffalo, N.Y., where workers have just lost their jobs at the steel mill. In a desperate move to make money to pay bills, child support and some positive attention from their wives they decide to give a visiting Chippendale show a run for their money. Taking it all off is a bumpy, fun ride.

Stephen Bourneuf directs a talented cast with an edgy staccato loose brush. The comedy is a bit forced at times but the characters are loveable enough to go with the flow. (A few more performances might straighten that challenge out.) The players are adequate with more comedic talent than singing voices. David Gunderman, (Harold) the supervisor/dance teacher delivers the most listenable sounds in the production. You won't leave the theater humming any of the tunes other than the catchy closing number "Let It Go." The choreography in that closing number is well done and strong and worth the almost three hours getting there.

"The Full Monty" is fun with an indelible well-timed mark on our feelings about our current economical situation, some will be able to identify and others will understand better the situation as it stands today. With all that, "The Full Monty" will make you laugh.

This show is for mature audiences.

Camille Bounds Camille Bounds is the Theatre and Arts Editor for Sunrise Publications.