The new regime at Encores—after an initial pair of checkered productions—has demonstrated that they do, indeed, understand the strengths of this musicals-in-concert series. Encores has traditionally been a refuge for theatergoers in search of favorite and/or unjustly neglected shows with the original music elements reasonably intact. Into the Woods more than delivers.
Numerous portions of the Sondheim catalogue have been offered over the years; carefully so, as the author was just across town and particular about how his work was presented. One expects that he would be more than pleased by the latest results. Not only is the music, with the original orchestrations by Jonathan Tunick, presented as it should be; the vocal work is clear and precise, allowing his lyrics to come across with all their many-shaded splendors.
Into the Woods is unique among Sondheim’s Broadway musicals, which typically have one to three leading roles surrounded by multiple featured players. Here, the focus is evenly spread among at least a half-dozen characters. Original cast members Joanna Gleason (as the Baker’s Wife) and Chip Zien (as the Baker) were the not-so-hidden strengths of the 1987 production. The memory of their performances has never been touched, for this viewer, across many years of Into the Woods watching. Sara Bareilles and Neil Patrick Harris, though, are equally successful in bringing warmth, humor, and humanity to this flawed-but-sympathetic pair.
Bareilles, best known as a singer-songwriter and the composer-lyricist of Waitress, turns out to be a fine stage actress with a firm understanding of what Sondheim and librettist James Lapine were getting at. She also demonstrated grace under fire at the press performance, when she recovered from a missed-lyric—those tongue-twisters are difficult to master, especially with limited rehearsal and performance time!—with a self-deprecating wince and great aplomb. Harris has appeared in so many Sondheim special events that he might be taken for granted; in this case, he was a late replacement for a suddenly unavailable two-time Tony-winner. The role seems to have been contrived by Lapine with at least the flavor of a 20 century neurotic New Yorker. Harris delivers a friendlier, warmer, more sympathetic, and an altogether less crusty Baker. He also offers sublime physical humor: like a Pinocchio puppet, his body and his will are seemingly controlled by a set of offstage strings, which again and again “pull him up short” (and then drop him).
Many others stand out, whom I’ll mention in random order. Denée Benton as Cinderella, especially excellent when her voice enhances the beauties of “No One Is Alone.” Julia Lester, who counters what might be present-day squeamishness over Red Riding Hood’s encounter with the Wolf by presenting herself as a sturdy, knowing, and potentially lethal Red. Annie Golden (as the Grandmother, Cinderella’s Mother, and the Giant’s Wife) and David Patrick Kelly (as the Narrator and Mysterious Man), both of whom bring more charm and humor than others I’ve seen in these roles. Ann Harada, who is delightful as Jack’s Mother. Jason Forbach, an understudy who has been playing the role of Rapunzel’s Prince thus far and is likely to continue through the weekend, who demonstrates comic flair and makes a perfect foil to his royal counterpart. Heather Headley, as the Witch, who soars (as might be expected) in her second act vocals. (One can’t help but feel, though, that her performance is unduly restrained by the harshly ugly mask covering much of her face during the first act. Yes, we get that she is playing a witch; but perhaps they should allow the actor to act it?)
Gavin Creel, as Cinderella’s Prince, is at his comic best; so much so that he threatens to dominate the stage. Or animate it; when he imperiously arches his back—which happens more than once—he seems to be made of springs, boomeranging back into shape with threatening velocity. His Wolf, too, superbly delivers every last tasty morsel packed within Sondheim’s “Hello, Little Girl.” Special mention must be made—in that I suppose everyone who leaves City Center is likely to mention it—of crowd favorite Kennedy Kanagawa as Milky White. Yes, he is basically a puppeteer; but I’ve never before seen a puppeteer attempt to swat away flies with his tongue. Let’s just say that the Milky’s death rattle is a highlight of the evening, and his reappearance brings cheers from all corners of the house.
Director Lear deBessonet, the freshman artistic director of Encores, here demonstrates why she was tapped for the position. Into the Woods has the flavor of her work at Shakespeare in the Park and as founder of Public Works. In that vein, she floods the house for the finale with an inclusive community chorus of 70, enhancing the composer’s message that “Children Will Listen” with true and rousing surround sound.
Lorin Latarro provides the relatively minimal choreography, although we highly appreciated the “It Takes Two” duet into which is inserted that scene-stealing cow. The limited scenic capabilities offered by the Encores format are overcome by David Rockwell, who uses 14 fanciful birch trees to great effect. Andrea Hood provides some stunning costumes along the way; lighting designer Tyler Micoleau, who seems to be all over town this spring, provides the light in the forest (as they say); and puppet designer James Ortiz’s Milky White is a marvel.
The music department is impeccable, as is typical of Encores (although not in this season’s first two offerings, from “guest” music directors). Into the Woods marks Rob Berman’s final appearance on the podium after 14 years of impeccable stewardship. Since its initial 1994 season, the series has focused special attention on the orchestra, the orchestrations, and the composers’ musical intentions. Let us hope that this continues to be the case.
After viewing The Tap Dance Kid and The Life—two flawed musicals which were not improved by the Encores artistic staff—some long-time subscribers might have questioned whether they want to return next February for more of the same. They will likely leave City Center beaming, their faith conditionally restored. Into the Woods, which is playing an expanded two-week run, indicates that there is a way forward for the new leadership of Encores.
Into the Woods opened May 4, 2022, at City Center and runs through May 15. Tickets and information: nycitycenter.org
