Norton Juster’s 1961 children’s book, The Phantom Tollbooth, is a classic of both intellectual proportions and storytelling. It introduces readers to both the power of words and the power of numbers, as well as to quarrels between those who prefer each. It both engages with fantasies of magical trips, princesses who need saving and demons who need to be overcome, and challenges, rather than patronizes, the intellectual capabilities of its audiences. The book’s original illustrations, by Jules Feiffer, served to create a visual environment that was both fantastical and worldly, which is a neat trick to pull off.

There have been a number of incarnations of this story, including several plays, and a 1970 animated feature that was produced by Chuck Jones and featuring the work of all of the big-time voice actors of the day. Now, the Kennedy Center’s Education Department has mounted a musical production, and this version has been touring across the United States. The tour played to a delighted audience at the Poway Center for the Performing Arts this past Saturday evening.

For those who may not be familiar with the story, it focuses on young Milo, who is bored with everything. He is not particularly interested in school, and even his friends have trouble getting him to come out and play. Milo does dream of doing big things with his life, however, so he jumps at a chance to visit a fantasy world when his bedroom dresser suddenly transforms itself into a tollbooth that promises to lead to that fantasy world. Soon, Milo is cruising along toward the Land of Wisdom, where he meets a trusty companion, Tock, the time-keeping dog. Together, Milo and Tock help to bring peace to the land by reconciling the warring brothers who reign over Dictionopolis and Digitopolis and by rescuing the princesses named Rhyme and Reason. To do so, Milo must overcome the demons of ignorance and discover the joy of understanding new ideas and exploring the world through new eyes.

The script features some first-rate work by veteran talent. The melodic music was composed by the late Arnold Black, and the clever book and lyrics are by Tony-winner Sheldon Harnick, in collaboration with Mr. Juster.

The production looked at first to be overly simplistic, as it was performed before black drapes, and the opening scene featured only a few roll-on set pieces. But, once Milo reached the fantasy worlds, more set pieces rolled on to create those worlds (James Kronzer is credited as the Scenic Designer, and Rosemary Pardee designed the costumes). While these designs didn’t evoke the humor of Mr. Feiffer’s original drawings, they still drew in the audience and helped to hold attention to the twists and turns of the plot. DC-based choreographer Karma Camp contributed lively dances to pre-recorded music, and Ms. Camp co-directed the one-hour tour performance with Tim McDonald, who mounted the original production at the Kennedy Center.

The cast performed professionally and in a manner that held the attention of even the smallest children. If the lack of depth of characterization made any difference to the audience, they never let on. David McLellan made an attractive and clear-voiced Milo, and the other cast members, each of whom took multiple roles, were Carolyn Agan, Jonathan Atkinson, Kevin McAllister, Jeffery L. Peterson, Lindsay Roberts, and Margo Seibert.

Parents who wanted to introduce their children to professional theatre could do far worse than this production. The youngest might squirm a bit, but even the squirmiest seemed complete engaged with the story this past Saturday evening. The tour continues nearby for the next few days; see the full schedule for details.

[photo caption: (clockwise from top left) Jeffery L. Peterson as Miner, Margo Seibert as Tock, Jonathan Atkinson as The Mathemagician, David McLellan as Milo, Kevin McAllister as Miner, Carolyn Agan as Miner, Lindsay Roberts as Miner; photo by Carol Pratt]