There are two astounding milestones associated with South Coast Repertory’s staging of Stephen Sondheim and James Lapine’s musical “Into the Woods,” which opened September 18 and runs through October 18.
First, “Into the Woods” launches SCR’s 63rd season—has it really been that long since SCR founders Martin Benson and David Emmes launched their troupe?
Second, has it been 40 years since “Into the Woods” premiered in December 1986 at The Old Globe in San Diego before opening on Broadway the following November?
I was lucky to have attended a special “Into the Woods” reunion at Segerstrom Center in 2014, with creators Stephen Sondheim and James Lapine on stage discussing “Into the Woods,” joined by original Broadway cast members (including Bernadette Peters) who both sang and talked about their experiences in the show.
That was a memorable evening. So is the production of “Into the Woods” at SCR.
First, a disclaimer. Sondheim does have distractors. Some traditional musical theater aficionados don’t get his distinctive style, which admittedly can be perceived as, well, nontraditional.
And then there are the rest of us, who relish Sondheim’s idiosyncratic style.
As SCR Artistic Director David Ivers has noted, “’Into the Woods’ is an astonishing musical—theatrical, magical, haunting and transportive. Stephen Sondheim and James Lapine weave together complex tales we think we know and dare to ask ‘what comes after happily ever after?’ Featuring a glorious multi-layered score, it’s a feast for the senses and a loving reminder of why Sondheim occupies a singular place at the top of our American composers.”
SCR’s production of “Into the Woods” does not feel like it is of a time, but rather for our time. The lessons and morals inherent to “Into the Woods” are as relevant as ever, and as clever and fun.
The plot: When the Baker and his wife venture into the forest to break a witch’s curse, they encounter Cinderella, Little Red Riding Hood and Jack (of beanstalk fame)—and familiar tales take on clever new lives. But be careful what you wish for, because “happily ever after” is never the whole story.
Sondheim and Lapine drew on the plots of several Brothers Grimm fairy tales. The main characters are taken from “Little Red Riding Hood,” “Jack and the Beanstalk,” “Rapunzel,” and “Cinderella,” with several others added for good measure. Using those tales as a starting point, Sondheim and Lapine explore the consequences of the characters’ actions and desires.
There are multiple themes at play in “Into the Woods,” including morality, desire, and what can happen when you get your wish.
The SCR production has a simple yet lovely set, with an on-stage turntable that easily changes the setting when needed. The staging includes well-designed choreography that is both effortless and purposeful.
The cast is superb, with wonderful voices and actors who understand the nuances of Sondheim’s music and lyrics. Enunciation is key to many Sondheim songs (“Getting Married Today” from “Company” can be particularly challenging), and the SCR cast makes sure their every word is heard.
“Into the Woods” is at once humorous, poignant, thoughtful and even tragic. Unlike most fairy tales, there is not always a happy ending, but there is a satisfying one.
Guided by director Peter Rothstein, SCR’s memorable production of “Into the Woods” shows why the musical is still as remarkable and relevant as it was 40 years ago.
In her statement about the show, SCR’s Managing Director Suzanne Appel noted that “Our fairy tale heroes of ‘Into the Woods’ begin the story each on a quest for their own happiness. But as our incredible director Peter Rothstein pointed out at first rehearsal, the great Steven Sondheim once said, ‘A folktale without a moral is merely a whimsy.’”
Morals abound in “Into the Woods.” You will leave the theater humming one of Sondheim’s songs while ruminating on the lessons you learned while in the woods.
“Into the Woods” runs through October 18. For tickets, visit SCR.org.
