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Into The Woods
by David Schultz When this brilliant musical first hit the
boards in 1987 it seemed a fresh take on all the fairy tale bedtime stories we
were told as tiny tots. A mishmash of various characters including Red Riding
Hood, Cinderella, Jack & the beanstalk, Rapunzel, and a vengeful witch. As
the years have gone by, it’s almost thirty years since its debut; this light
entertainment by the master has only gained in its reputation. Various revivals
in 1987 and in 2012 have kept this musical in constant replay. Need I mention
the blockbuster film from last season to hammer in my point? The talented Fiasco Theater mounted a
bare-bones lets put-on-a-show version at the McCarter Theatre in 2013. It is
this very same minimalist production, all ten performers playing various parts
with excessive gusto that has hit Broadway yet again. The sparse stage is set
with one piano, various musical instruments strewn throughout, picked up at key
moments and played by the performers. Derek McLane craftily designs the set with
long ropes that surround the stage, floor to ceiling, that bring to mind both a
forest and the keys to a piano. To wit, the left and right sides of the stage
setting are strewn with various parts of broken piano parts. The atmospheric
lighting design by Christopher Akerlind sets a moody hue to the proceedings.
The production starts organically with the
troupe slowly coming onstage with the theater still brightly lit. The sense of
friends coming together to meet and greet each other co-mingled with ’lets put
on a show’ gusto sets the mood. The stage is strewn with various ephemera; an
antique dress form, a ladder, everyday items that mysteriously and magically
become a tree, a tower… quick change clothing options abound. Window curtain
rods double as dresses for the ugly stepsisters. The ingenuity runs rampant
with all manner of everyday items turning into magical items in quick
succession. It is the ultimate acting class on high, with sly wit and the
overeager zeal to top the last effect to an even greater visual pun. This alas becomes repetitive, and drags the
evening into a very long first act.. This production,
tries to please the audience at all costs, and makes the piece, god forbid,
cute and cuddly. To wit, the woman sitting next to me started quietly humming
along to some of the songs in the show. The darker second act does slow down,
finally with an attempt at giving depth and meaning to the more complex issues
at hand. But the change in tone is even more jarring than usual. The performers
acquit themselves well, some better than others. On the plus side, you can hear
and savor all the musicality that Sondheim has carefully placed in the work.
All the words sung are perfectly enunciated.
This counts big time with this tricky complicated wordsmith. If you
can’t hear the delightful rhymes and the cadence of the songs, all is lost. As
the baker and his wife, Ben Steinfeld and Jessie Austrian make an innocuous and
bland couple. Better served to the piece actress Emily Young brings spunk and
zest to her dual roles as Rapunzel, and most especially to her reading of
Little Red Ridinghood. Playing Steward and a strappingly tall Jack, actor
Patrick Mulryan dazzles with a beautiful voice. Actress Claire Karpen brings to
life both Granny and a contemplative Cinderella to full plumage with a snarky
wit. Playing multiple parts Noah Brody essays ugly stepsister Lucinda, Wolf,
Cinderella’s Prince to great comical effect. If his voice were stronger and
more potent he would have more impact. His voice strained at various times
throughout. Playing assorted roles as varied as Milky White, stepsister
Florinda, and Rapunzel’s Prince, actor Andy Grotelueschen practically steals
the show with his rendition of one of the preening Princes, and most especially
of the cow Milky White. MOO indeed. As Cinderella’s Stepmother and Jack’s
Mother, actress Liz Hayes brings unexpected pathos to her roles. The pianist
for the entire production, Matt Castle is masterfully at the helm. And topping
the list Jennifer Mudge pulls out all the stops as the Witch. Her renditions of
some of Mr. Sondheim’s best loved songs in this work are well crafted and given
the full gravitas needed to make the musical soar. With all this great talent on board, it hard to
grouse and be a curmudgeon, would that the powers that be had decided to give a
darker, more contemplative tone to these Woods. Instead what we get is a
hyperactive, wound too tight, overeager directive to cram in everything
including the kitchen sink, hoping to re-invent the work yet again. But more
often than not, little artsy business on the sidelines drew attention to the
artifice involved. The Harold & Miriam Steinberg Center for
Theatre/ Laura Pels Theatre 111 West 46th Street (212) 719-1300 Playing through April 12th roundabouttheatre.org 
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