Even in a second- or third-rate production, Into the Woods is delightful, big and lovable and accessible and loaded with some of Stephen Sondheim’s most gorgeous and endearing songs. In a top…
To say it delivers on its promise is an understatement.
Act II is where the strings of Act I begin to tighten into nooses. Here in the fairy tale woods, the Baker and his wife finally have the baby that cost them only one red cape , a white cow , a braid of yellow hair and a gold slipper . As the various heroes and villains and just plain folk from any number of fairy tales mix and mingle and screw up their plans, they’re blithely unaware of the existential threat that will ultimately make a mockery of all their jealousies and ambitions and grievances. A giant has been roused, and whether any of our little fairy tale folk survive might well depend on just how willing they are to turn against one another. Some do, and it’s, yes, grim giving the lie to our ever proper heroes .
Much of the cast from the excellent Encores! staging – along with the concert-style presentation – made the move to Broadway, and that’s a very good thing.
And the rest of the large ensemble is without fault, but specific mention should be made of the wonderfully articulated cow puppet Milky White, designed by James Ortiz and performed at the reviewed show by understudy Cameron Johnson. And performed is the accurate word – Johnson, filling in for Kennedy Kanagawa, not only operates the skeletal Milky in fascinating fashion, but “acts” the beast’s emotions, an eye-catching show in and of itself, another treat in a production filled with them.
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