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Into the Woods blends various familiar fairy tales with an original story of a childless Baker and his Wife, who catalyze the action of the story by attempting to reverse a curse on their family in order to have a child.
In the first act, the characters set out to achieve their goal of living "Happily Ever After" through familiar routes - Cinderella goes to the Ball and captures the heart of Prince Charming, Jack climbs the Beanstalk and finds a land of Giants and Gold, Little Red Riding Hood survives her clash with the wolf at
Grandma's house, and Rapunzel manages to escape her tower with the aid of a handsome prince who climbs her long hair. The Baker and his Wife move through their stories while pursuing their own goal - the witch who keeps Rapunzel (revealed to be the Baker's sister) has put the curse on his house, and agrees to lift it if the Baker and his Wife can find the ingredients to help her reverse a spell which her
mother has laid on her, keeping her old and ugly. Those ingredients are: A Slipper As Pure As Gold, which the Baker's wife gets from Cinderella, A Cow As White As Milk, which the Baker buys from Jack in exchange for the fateful magic beans, A Cape As Red As Blood, which the Baker gets from Little Red Riding Hood in
exchange for freeing her and Granny from the Wolf, and Hair As Yellow As Corn, which they get from Rapunzel. The ingredients are gathered, and the spell works, stripping the Witch of her power, but
restoring her beauty. At the end of Act I, all characters seem poised to live "Happily Ever After".
Act Two, however, deals with the consequences that traditional fairy tales conveniently ignore. What does one do with a dead Giant in the back yard? Does marrying a Prince really lead to a happy and fulfilling life? Is carving up the wolf the solution? Is the Giant always wrong? In Act Two, all the characters must
deal with what happens AFTER "Happily Ever After". As they face a genuine threat to their community, they realize that all actions have consequences, and their lives are inescapably interdependent, but also that that interdependence is their greatest strength.
- June Abernathy
Show Data
Original Broadway Production:
Opened |
November 5, 1987 |
Ran |
764 Performances |
Theatre |
Martin Beck Theatre |
Music |
Stephen Sondheim |
Lyrics |
Stephen Sondheim |
Book |
James Lapine |
Producer |
Heidi Landesman |
|
Rocco Landesman |
|
Rick Steiner |
|
M. Anthony Fisher |
|
Frederic H Mayerson |
|
Jujamcyn Theaters |
Executive Producer |
Michael David |
Associate Producers |
Greg C Mosher |
|
Paula Fisher |
|
David B Brode |
|
The Mutual Benefit Companies |
|
Fifth Avenue Productions |
Director |
James Lapine |
Set Designer |
Tony Straiges |
Lighting |
Richard Nelson |
Costumes |
Ann Hould-Ward |
|
Patricia Zipprodt |
Magic Consultant |
Charles Reynolds |
Sound |
Alan Stieb |
|
James Brousseau |
Hair Design |
Phyllis Della Illien |
Casting |
Joanna Merlin |
General Manager |
David Strong Warner, Inc |
Musical Staging |
Lar Lubovitch |
Orchestrations |
Jonathan Tunick |
Musical Direction |
Paul Gemignani |
Originally Produced |
Old Globe Theater |
Original Broadway Cast:
Narrator
|
Tom
Aldredge |
Cinderella |
Kim
Crosby |
Jack |
Ben
Wright |
Baker |
Chip
Zien |
Baker's
Wife |
Joanna
Gleason |
Cinderella's
Stepmother |
Joy
Franz |
Florinda |
Kay
McClelland |
Lucinda |
Lauren
Mitchell |
Jack's
Mother |
Barbara
Bryne |
Little
Red |
Danielle
Ferland |
Witch |
Bernadette Peters |
Cinderella's
Father |
Edmund
Lyndeck |
Cinderella's
Mother |
Merle
Louise |
Mysterious
Man |
Tom
Aldredge |
Wolf |
Robert
Westenberg |
Rapunzel |
Pamela
Winslow |
Rapunzel's
Prince |
Chuck
Wagner |
Grandmother |
Merle
Louise |
Cinderella's
Prince |
Robert
Westenberg |
Steward |
Philip
Hoffman |
Giant |
Merle
Louise |
Snow
White |
Jean
Kelly |
Sleeping
Beauty |
Maureen
Davis |
Musical Numbers:
- Prologue: Into the Woods
- Cinderella at the Grave
- Hello, Little Girl
- Guess This Is Goodbye
- Maybe They're Magic
- I Know Things Now
- A Very Nice Prince
- First Midnight
- Giants in the Sky
- Agony
- It Takes Two
- Stay With Me
- On the Steps of the Palace
- Ever After
- Prologue: So Happy
- Agony
- Lament
- Any Moment
- Moments in the Woods
- Your Fault
- Last Midnight
Original London Production:
Opened
|
September
25, 1990 |
Theatre |
Phoenix
Theatre |
Music |
Stephen
Sondheim |
Lyrics |
Stephen
Sondheim |
Book |
James
Lapine |
Producer |
David
Mirvish |
General
Manager |
Andrew
Leigh |
Director |
Richard
Jones |
Set
Designer |
Richard
Hudson |
Costumes |
Sue
Blane |
Choreography |
Anthony
Van Laast |
Orchestrations |
Jonathan
Tunick |
Musical
Director |
Peter
Stanger |
Musical
Supervisor |
Martin
Koch |
Lighting |
Pat
Collins |
Magic |
Kovari |
Sound |
Andrew
Bruce |
Original London Production:
Added Songs:
- Our Little World
Recordings:
- Original Broadway Cast DVD, 1990 (Image Entertainment)
- Original Broadway Cast VHS, 1990 (Image Entertainment)
- Original Broadway Cast CD, 1987 (RCA Victor, 6796-2-RC)
- Original London Cast CD, 1990 (RCA Victor, 60752-2-RC)
Awards:
1987 Tony Awards - 9 nominations, 3 wins:
- Best Score (Stephen Sondheim)
- Best Book (James Lapine)
- Best Actress in a Musical (Joanna Gleason)
1997 Drama Desk Award
- Best Musical
- Best Lyrics (Stephen Sondheim)
- Best Book for a Musical (James Lapine)
- Featured Actor in a Musical (Robert Westenberg)
- Featured Actress in a Musical (Joanna Gleason)
New York Drama Critics Circle Award
- Best Musical
Secondary performance rights handled by Music Theatre International
Articles:
1.
Discuss this show in Sondheim.com's
community forum: Finishing the Chat... ››
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“Assassins is about how society interprets the American Dream, marginalizes outsiders and rewrites and sanitizes its collective history. "Something Just Broke" is a major distraction and plays like an afterthought, shoe horned simply to appease. The song breaks the dramatic fluidity and obstructs the overall pacing and climactic arc which derails the very intent and momentum that makes this work so compelling...”
- Mark Bakalor
“I found [the Sondheim Celebration's Company] to be completely delightful. Almost all of the numbers excited and energized me, and most of the scenes were about as pitch-perfect as you can get. I just sat there with a big smile on my face the whole show.
Which is not to say that it is perfect...”
- popcornonmyknees
Explore the rest of the Finishing the Chat Community Forum

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