For a few days in the near future, Cincinnati can be considered the center of the world for Stephen Sondheim fans. During the first weekend in March, three major productions of works by musical theater's greatest living artist (and maybe greatest of all time) can be seen in town. The national tour of West Side Story begins this week, and the John Doyle directed production of Merrily We Roll Along (with his actors-as-orchestra device in use) starts previews at the Cincinnati Playhouse in the Park with a cast of Broadway veterans in the leading roles. Before either show begins, however, is a mounting of Sondheim's Into the Woods by the University of Cincinnati - College Conservatory of Music (CCM) as part of their Mainstage Season. This wonderfully inventive production boasts brilliant direction and stagecraft, splendid performances, and excellent costumes.

Into the Woods intertwines various classic fairy tales such as "Cinderella," "Jack and the Beanstalk," "Rapunzel" and "Little Red Riding Hood" with new ones (centered around a witch and a baker and his wife) as the characters seek to have their wishes come true. They must likewise learn to live with the unforeseen consequences of reaching their dreams and the actions they took to achieve them.

The book by James Lapine is innovative, fast-paced, and full of commentary on the trials and tribulations of parenthood, marriage and loss. There are also healthy doses of comedy and wit, and the story is well conceived and structurally strong. The score by Mr. Sondheim features music which is complex and challenging, yet also melodically appealing and accessible. The dense lyrics demonstrate ingenious wordplay throughout, and insight and intelligence in their meaning and impact. This score is one of Sondheim's most underrated due to the lack of many standout individual songs in comparison to some of his other scores, but it shows off the master's skills at their best as a whole. Song highlights include the complex opening sequence where the audience is introduced to most of the main characters, "Giants In the Sky," "Last Midnight" (where the witch menacingly chastises the other characters for their selfishness and lack of foresight), the hauntingly beautiful "Children Will Listen," and the touching "No One Is Alone."

CCM Director Aubrey Berg employs a plethora of creative theatrical conventions to form a fantastic and cohesive vision full of imagination and visual treats. Highlights include turning a few simple props into a fun carriage ride, the resourceful use of two stagehands in various ways, a Julie Taymor-style puppet for Milky White, and an eye-popping and menacing rendering of the giant. Mr. Berg also earns praise for pulling multi-layered, varied, and focused performances and characterizations from his actors. The limited choreography by Patti James is fun and unique, and Stephen Goers leads a skilled 15-piece orchestra with gusto.

CCM's cast for Into the Woods is exceptional. Each performer provides a fully realized and detailed characterization and first rate vocals. This mounting of the show feels more like a true ensemble piece due to the heightened performance level of the supporting players. Chris Blem (The Baker) and Graydon Long (Narrator/Mysterious Man) both give solid and steady portrayals throughout and are poignantly moving in their duet "No More." As the Baker's Wife, Michelle Rombola is endearingly quirky and funny. The two most impressive performances come from Katie Johannigman (Cinderella) and Victoria Cook (The Witch). Ms. Johannigman's Cinderella is a pensive, contemplative dreamer and she sings delightfully. Ms. Cook is fierce and ominous as the Witch, who serves as the (somewhat skewed) moral conscious of the denizens of the woods. She proves to be a strong singer throughout as well, demonstrated best via an emotional "Stay With Me." Of the supporting performers, especially praiseworthy are John Riddle (a flamboyantly pompous Cinderella's Prince), Cassie Levine (aptly harsh as Jack's Mother), and Lawson Young (a hyper and spoiled Little Red Riding Hood).

The costumes are some of the best seen in any Cincinnati musical in a long time. Dean Mogle's varied designs feature a full color palette in every imaginable shade, and unique fabrics and textures. The smart and multi-functional unit set by Ryan Howell and Brian J. Ruggaber serves the show well, though the drawing of various cats on the set is odd and somewhat puzzling. Kelly Yurko and Kaitlyn Adams deserve kudos for wonderful wigs and make-up, and the atmospheric lighting by Tim Schmall is appropriate and well-executed.

Even though the upcoming productions of the other two Sondheim shows coming to town boast seasoned professionals and big name directors, they'll be hard pressed to meet the theatrical magic and entertainment heights of CCM's innovative, thought-provoking, meticulous, and well-performed Into the Woods. The show continues through March 4, 2012.