Into the Woods

My wife and I have enjoyed the soundtrack and associated book form of this musical for years. Alas, we were never able to enjoy it on broadway. We knew there was a bit of innuendo involved but that it was fairly out of the range of our 8 year old daughter. However, when we rented the DVD of this live performance, my eyebrows were raised quite quickly when Red Riding Hood comes upon the Wolf. The Wolf is, how should I say, amazingly anatomically correct for a man, let alone a wolf. The tone of the whole play really isn't for kids but the rest of it seems okay. My daughter enjoyed the music and made comments about the crude special effects. But the parents understand that the effects are just for effect and that the real power of this musical is in the story. It tugs just a little harder than one would expect at the heartstrings. I was amazed at the number of real tears shed by the cast...and that emotion is just a real today as a decaded ago. Oh. And Bernadette...best witch ever.

"Into the Woods" never became the stuff of legend like "Hair" or "West Side Story", and it never became a commercial blockbuster like practically every Andrew Lloyd Webber musical. Perhaps this is because of its length--three hours, on average--perhaps because of the fairy-tales-go-to-hell subject matter. People don't usually like to see what happens after "happily ever after," but it's one of the most cogent and powerful lessons of "Into the Woods," the best of all Broadway musicals. It's comical, serious, joyous, poignant, mystical, accessible, you name it. It's got an intricate plot, complex and sympathetic characters, and the most rich and rapturous score ever to grace the professional stage. Thank you so much, Stephen Sondheim and James Lapine, for this wonderful gift.

This is by far one of my favorite Broadway shows ever. Bernadette Peters is absolutely unparalleled on the stage, Sondheim and Lapine have pulled off another masterpiece, and Joanna Gleason TOTALLY deserved her Tony award for this. In my mind, this musical was far superior to the one that beat it out for 1989 Best Musical (Phantom of the Opera). Anyone who liked this would like "The School for Scandal", which stars Barbara Bryne (Jack's Mother). I suggest you check it out.

One of the great Stephen Sondheim's last great musicals combines four favorite fairy tales to make one classical epic: "Cinderella," "Jack & The Beanstalk," "Little Red Riding-Hood," and "Rapunzel." A fifth story is, of course, needed to bind them together, which comes here in the story of a poor baker and his wife who wish for a child, and to get it, strike a bargain with a witch to fetch the ingredients for a potion: "The cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slippers as pure as gold." The baker rescues

Red Riding-Hood from the wolf and is rewarded with her cloak, and then sells

the beans to Jack for his cow, while his wife plucks a hair from Rapunzel in her tower, and relieves Cinderella of her last shoe, since she is having trouble

escaping in one high-heeled slipper. Over the first act, we see the stories unfold just as we know them from our childhood, ending with "Happily ever after." In the second act, however, the characters' continuing stories are shown as not as

happy as we thought. Cinderella and Rapunzel's princes have lost their hearts' desires in the having of them, and start chasing after Sleeping Beauty and Snow White. Red Riding-Hood has become obsessed with killing wolves, and

defending herself. Rapunzel, simultaneously missing her Witch-mother and

hating her, has moments of hysteria. As for the Baker, he feels insecure as a father, and his wife wishes their house were bigger. And the Giant's wife comes down another beanstalk to get revenge on Jack for murdering her husband.

Disaster strikes when, in desparation, the characters sacrifice the Narrator to the Giant, and thus destroy the person keeping the stories in order. Chaos ensues as the black and white so well divided before flow together. Heroes lie, Witches are right, Giants are good, heroes die. But still, the characters are able to stay together and defeat the giant and resolve their stories on their own. The moral of the story is simple: Learn from the stories, but don't live by them, as sung by the legendary Bernadette Peters as the Witch. She proves amazingly good at

playing the hideous old crone, and later becomes more of a Gothic beauty,

more suited to her beautiful voice and fantastic acting skills (Last Midnight, who would have thought a waltz could be so chilling?) The rest of the original

Broadway cast is also fabulous. Danielle Ferland is delightful as Red Riding- Hood, a Shirley Temple with a delightful mean streak. Robert Westenberg

makes the Prince funny and sad, and as the Wolf, brings out the lustful

undertones of the character, and Chip Zien and Joanna Gleason evoke

memories of Desi and Lucy as the married couple, while Kim Crosby is a

surprisingly independent Cinderella. All the cast sings one of Sondheim's

strongest scores, and brings the musical into the range of 10/10.

INTO THE WOODS is a musically intricate and enchanting musical from the man who brought us COMPANY,A LITTLE NIGHT MUSIC,FOLLIES, Sunday IN THE PARK WITH GEOGRE and SWEENEY TODD. Sondheim, Broadway's finest lyricist, has once again struck gold with this clever and complex story that incorporates characters from several different classic fairy tales in a mystical blend that might make the Brothers Grimm roll over in their graves but will leave fans of this musical genius clamoring for more. This musical follows the adventures of a poor Baker and his wife, who want to have a child more than anything and are promised a child by an evil witch, with secrets of her own, if they can bring her Little Red Riding Hood's Cape, Cinderella's slipper, the cow belonging to Jack of Jack and the Beanstalk fame and a lock of Rapunzel's hair and it is their journey into the fairy tale forest to find these items that provides the plot for this delightfully imaginative musical. As always, Sondheim has provided us with lush melodies and intricate musical arrangements where characters sing on top of each other and it is virtually impossible to catch everything that is being sung, but for us Sondheim-aholics, this is half the fun, requiring careful attention and multiple viewings. This DVD is a taping of a performance by the original Broadway cast, led by the divine Bernadette Peters as the Witch. Hidden behind heavy makeup for the first act, Peters proves to be a gifted actress as well as the consummate song stylist. Peters stops the show with "Children Will Listen" and "Last Midnight". Joanna Gleason won a Tony for her effervescent turn as the Baker's wife and Chip Zien is beautifully paired with her as the Baker. There are also outstanding supporting performances from Robert Westenberg in two roles as the Wolf and Cinderella's Prince, Danielle Ferland as Little Red Riding Hood, Kim Crosby as Cinderella, and Ben Wright as Jack. Other musical highlights include "Agony" a funny yet melodic duet between the two princes, "On the Steps of the Palace" sung by Cinderella, "Hello Little Girl", the musical meeting between Red Riding Hood and the Wolf" and Gleason's show stopping "Moments in the Woods". A thoroughly original and lushly theatrical musical that provides another testament to the genius that is Stephen Sondheim.