Charlene Baldridge | Uptown News
Let it be stated: This arts writer is wary of the word and the deed “reimagined.” Theatrical reimagining is frequently a cost-cutting lesser-than-the-original, doubling of parts, no sets, no costumes and no orchestra version of the original.
In the case of the McCarter Theatre Center/Fiasco Theater reimagining of Stephen Sondheim and James Lapine’s “Into the Woods,” playing in the Donald and Darlene Shiley Stage at the Old Globe through August 17, the writer admits supreme bias. She was there when the piece was created, heard the voices and repeatedly witnessed the mishmash of fractured fairy tales before the show was first reimagined for Bernadette Peters’ “Witch,” and opened on Broadway.
In performance, Sondheim is an unforgiving taskmaster. While singing in the core of each pitch, a singer must articulate the rapid-fire genius text. Without such dedicated purity and clarity, much is lost and listeners catch only a small percentage of Sondheim’s brilliant, profound meaning, which lies fathoms deep and spans the entire show.
The reimagined production, originally developed and premiered at the Old Globe in 1987, is played for laughs. There’s lots of cross-gender playing — for instance Cinderella’s step-sisters are played by men — and Jack’s Cow, Milky White, originally a prop on wheels, is played by Andy Grotelueschen, who moos piteously. Highly amusing.
Noah Brody and Ben Steinfeld direct the production, with scenic design by Derek McLane, costumes by Whitney Locher, lighting by Tim Cryan and sound design by Darron L. West. Lisa Shriver is choreographer, and Matt Castle and Frank Galgano effected the orchestrations.
The music is still there, enthusiastically played by music director Castle on a wheeled hither-and-thither upright piano. According to the current show biz trend, cast members — in the main actors, not singers — contribute fragments of the original score on tonal instruments (cello, horn, bassoon) and percussion. There’s even a toy piano, which can hardly be defined as tonal. For the purist, it’s a bit off, just like everything else. Granted, the work is a bit off, too, and that is meant in an adoring sense. As modified and softened prior to Broadway, the Witch (here a fine Alison Cimmet) and her new song are still at sixes and sevens with the rest of the show. Her child-rearing pronouncements – “Children Will Listen” and in another place, they don’t/won’t, still make no sense.
Some superb moments remain and resonate, moments that remind one why Jack’s (Patrick Mulryan) apparent dim-wittedness and his mother’s (Liz Hayes) concern and sarcasm ring true; why the 11th hour “No More,” sung by the Baker (Ben Steinfeld) with the Mysterious Man (Paul L. Coffey), packs such a wallop; why the two Princes’ (Noah Brody and Andy Grotelueschen) “Agony” was so outrageously amusing; why The Baker’s Wife’s (Jessie Austrian) “Moments in the Woods” was so poignant; why Cinderella’s (Claire Karpen) relinquishing of royal status rang so true; and why Little Red Ridinghood’s (Emily Young, who also plays Rapunzel) “I Know Things Now” was so uproariously funny.
All of us know things now that we didn’t know before. Sondheim’s wisdom strikes ever more resonant chords as wars are waged and losses are suffered. Yes, indeed, people leave us halfway through the woods. Sondheim reminds us why it is important to participate in the journey; that no matter our failures and losses, we are not alone.
That is why readers must see “Into the Woods.” Even reimagined, even imperfectly realized, its impact remains.
“Into the Woods”
Tuesdays – Sundays | through August 17 | Donald and Darlene Shiley Stage |
Old Globe Theatre |1363 Old Globe Way | Balboa Park
Note: “Into the Woods” was originally slated to run through Aug. 10, but performances have been extended through Aug. 17.
