Mounting a stage production shortly after the release of a
lavish, big-budget film adaptation of the same material is always a tricky
proposition. On the one hand, the publicity surrounding a movie release brings
in a lot of new eyes, attracting people who are curious to see what the
original material might look like. But you have to please those who’ve been
drawn in by the film, and you run the risk of falling short of their
expectations. After all, a budget of millions of dollars buys a lot of
production value. It’s enough to make some theater directors steer clear of
shows that have been adapted into films, at least until some of the attention
dies down. So I was a little surprised to hear Ralph Meranto,
director of the JCC CenterStage production of “Into
the Woods,” say that the film’s release was what convinced
him to bring the musical to the JCC.
During an audience Q&A following Sunday’s sold-out
matinee performance, Meranto explained that he wanted
to stage “Into the Woods” for some time, and once it seemed clear that the film
would be diverging considerably from its source material, he decided that the
time was right. It was his desire to present audiences with an opportunity to
see the musical as it was meant to be seen: on the stage. And by that
measurement, he’s succeeded remarkably well. The result is an effective,
straightforward production that doesn’t stray too far from the path set by
previous presentations.
Stephen Sondheim and James Lapine’s
revisionist fairy tale weaves together the stories of Cinderella (Katie Weber),
Jack (Christopher Salvaggio) and the Beanstalk,
Little Red Riding Hood (Adriana Scalice), and Rapunzel
(Lani Toyama), and combines them with an original
story about a childless Baker (Eric Williamson) and his wife (Sarah Peters).
The couple learn that their inability to have a child is a result of a curse
placed on their home by The Witch (Janine Mercandetti)
who resides next door. If they want to reverse the curse, they must bring her
four items: a cow as white as milk, a cape as red as blood, hair as yellow as
corn, and a shoe as pure as gold. The couple sets out into the nearby woods in
search of the items, crossing paths with the other characters, who end up
affecting one another’s stories in unexpected ways.
The first act of the musical closely follows the course set
by the fairy tales we know and love. By the time intermission comes around, the
characters’ wishes have been granted, and the “evil” characters have been duly
punished. But it’s the considerably more complicated second act that has made
“Into the Woods” one of my favorite musicals. (And it should be noted that
there is indeed a second act — there seemed to be confusion among the audience
at the performance I attended, many of whom seemed unaware that there was more
to the story after the happy endings had been achieved, and several people
seated around me appeared to have left after Act One.)
The intermission signals a shift in tone, and in Act Two the
show explores what happens to the characters after their dreams come true. As
they discover “happily ever after” doesn’t automatically bring fulfillment, the
characters face disappointment, infidelity, and death, things become more murky
and unclear. It’s dark, it’s messy, and I love it.
The CenterStage production follows
the book of the 2002 Broadway revival, which adds some material to the show,
including an entire song, “Our Little World,” a cameo from the Three
Little Pigs, and the appearance of a second wolf during the “Hello Little Girl”
(among some other minor changes throughout). They’re interesting additions, though
none add much to the show.
Sondheim is always tricky, and here he weds complex themes to
melodies as gnarled and twisty as the musical’s woodsy setting, but the entire
cast acquaint themselves well with the material. Sarah Peters gives a lovely
performance in the complicated role of the Baker’s Wife, and Adriana Scalice makes for a fantastic Little Red. The Witch is the
showiest role by far, and Janine Mercandetti does scenery-chewing
quite well, even if she’s sometimes a little too referential to Bernadette
Peters’ iconic performance. Maybe it was the heavy costuming, but she feels
looser and more comfortable in the role post-transformation.
Throughout, this production adds a lot in the way of broad
humor, which works fine in the first act but sticks out considerably in the
second. I understand the desire to add some levity, but since there’s already a
major shift in tone between the acts, adding extra-jokey line deliveries
contributes to an occasional sense of tonal whiplash. The scenic and costume
designs stick with the classic storybook feel, right down to the fact that the
witch’s cloak incorporates the alphabet on its border. It’s a nice touch.
Even though I was hoping to see more risk-taking, fidelity is
what this production of “Into the Woods” is after, and it’s exceptionally
well-done, delivering a delightful staging of a beloved musical classic.
This article appears in May 6-12, 2015.
