Stepping into the world of Into the Woods, the musical by James Lapin with music and lyrics by Stephen Sondheim, is like entering a twisted fairy tale mashup. The story follows characters familiar from childhood bedtime stories - Cinderella, Jack (of beanstalk fame), Little Red Riding Hood, and a childless Baker and his Wife - all venturing into the woods to fulfill their deepest desires. However, this isn't your typical happily-ever-after journey. As the characters cross paths and their wishes intertwine, they face unforeseen consequences, moral dilemmas, and the true cost of their choices. Into the Woods is a darkly humorous and thought-provoking exploration of ambition, family, and the complexities of getting what you wish for.
Originally staged at New York City Center Encores!, Lear deBessonet's magnificent, starry Into The Woods all but demanded a Broadway transfer, with sold-out crowds packing City Center and those left out wanting in. Last week at a Broadway preview, the audience was so stoked for this show and this cast that a loud and prolonged cacophony of applause greeted the rise of the curtain. Clearly, this Into The Woods preceded itself. To say it delivers on its promise is an understatement.
As much as I liked it at City Center, it was still coming together at the time, which was not surprising in light of the complexity of the score, shaded characters, and limited rehearsal time. On Broadway, the production is much sharper and the performances are more nuanced. It's hard to pick and choose favorites among the cast because everyone is so damn good, including Julia Lester's sly and confident Little Red, Patina Miller's striking and sexy Witch, Phillipa Soo's heartfelt Cinderella, Cole Thompson's bright Jack, Brian d'Arcy James' well-meaning Baker, Sara Bareilles' improvisational Baker's Wife, Gavin Creel's foppish Cinderella's Prince and hammy Wolf, and Joshua Henry's exuberant Rapunzel's Prince. Even the cow Milky White (now a full-size, hand-operated puppet operated in full view of the audience) is a standout.
1986 | New York |
Reading New York |
1986 | San Diego, CA (Regional) |
Old Globe Production (Pre-Broadway) San Diego, CA (Regional) |
1987 | Broadway |
Original Broadway Production Broadway |
1988 | US Tour |
National Tour US Tour |
1990 | West End |
London Production West End |
1997 | Broadway |
Reunion Concert Broadway |
2002 | Los Angeles |
Los Angeles Revival (Pre-Broadway) Los Angeles |
2002 | Broadway |
Broadway Revival Broadway |
2007 | West End |
London Revival West End |
2015 | Off-Broadway |
Roundabout Theatre Company Production Off-Broadway |
2015 | St. Louis, MO (Regional) |
The Muny Production St. Louis, MO (Regional) |
2016 | US Tour |
Fiasco Theater National Tour US Tour |
2019 | Los Angeles |
Hollywood Bowl Revival Los Angeles |
2019 | Immersive |
Rooftop Musical Society Immersive Production Immersive |
2022 | Broadway |
Broadway Revival Production Broadway |
2023 | US Tour |
US Tour US Tour |
Year | Ceremony | Category | Nominee |
---|---|---|---|
1988 | Outer Critics Circle Awards | Best Actress - Musical | Joanna Gleason |
1988 | Theatre World Awards | Performance | Danielle Ferland |
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