50 Favourite Musicals: 5: INTO THE WOODS (1986) (Stephen Sondheim)

The 50 shows that have stood out down the years and, as we get up among the paint cards, the shows that have become the cast recording of my life.

First performed: 1986, Old Globe Theatre, San Diego, CA

First seen by me: 1988, Martin Beck Theatre, NY

Productions seen: six

Score: Stephen Sondheim

Book: James Lapine

Plot: Once Upon a Time, Cinderella wanted to go to the ball, Little Red Riding Hood wanted to visit Granny's cottage, a baker and his wife were desperate for a child, and Jack had to sell his aged pet cow for a new one and exchanges her for magic beans. They must all go into the woods to get their wishes, including the neighbourhood Witch to visit her daughter Rapunzel.  Everyone gets their wish and live Happily Ever After... or do they?

Five memorable numbers: NO ONE IS ALONE, CHILDREN WILL LISTEN, AGONY, GIANTS IN THE SKY, A MOMENT IN THE WOODS

After the success of SUNDAY IN THE PARK WITH GEORGE, Stephen Sondheim and James Lapine wanted to work together again and decided on exploring the moral ambiguities of living Happy Ever After when the actions you have done to get there have consequences.  Cinderella marries her Prince but what if he was raised to be charming but not faithful?  Jack steals from and later kills The Giant but what of the grieving Giant's Wife who wants revenge on the little killer who abused their hospitality? And what do you do when parents or children are taken from you - do you blame others or yourself?  Although Sondheim denies there was any deliberate intention for the work to reflect the AIDS crisis that was contemporary to it's writing, you cannot help but read it as a reflection on those times of sudden death, recrimination and the forming of community.  It's continued success down the years shows the world has not changed much... 

The show had a short initial run at the Old Globe Theatre in San Diego, giving Sondheim and Lapine a chance to see where the show might be enlarged and clarified before it opened at the Martin Beck Theatre in 1987 with the wonderful cast of Bernadette Peters as The Witch, Chip Zien as The Baker, Joanna Gleason as The Baker's Wife, Kim Crosby as Cinderella, Robert Westenberg as Cinderella's Prince as well as The Wolf and Danielle Ferland as Red Riding Hood.  The show ran for nearly two years and won three Tony Awards - Gleason for Best Actress, Best Score and Best Book - but losing out in it's production awards to THE PHANTOM OF THE OPERA.  More importantly, just after a year after it opened, INTO THE WOODS was the first musical I ever saw on Broadway.

Lapine's glorious original production was the best introduction to Broadway and luckily it was filmed with the reunited original cast just before it closed and is available on DVD.  The first London production only lasted five months at the Phoenix Theatre, largely due to Robert Jones' ugly, over-intellectualised production but it did feature two memorable performances from Julia McKenzie as The Witch and Imelda Staunton as a pugnacious, determined Baker's Wife; Imelda went on to win the Best Actress Olivier Award for Best Actress.  A far more cohesive and enjoyable production was John Crowley's 1998 revival at the Donmar - it's smaller stage giving the action more of a focus - with yet another Olivier Award-winning Baker's Wife, this time the wonderful Sophie Thompson, in a cast which also included Jenna Russell as Cinderella, Damien Lewis as her Prince and a break-out performance by 17 year-old Sheridan Smith as Red Riding Hood.

The last three productions I have seen illustrated how versatile directors have found the material - the Landor staged INTO THE WOODS in their 60 seat pub theatre in 2009, the Open Air theatre in Regents Park staged a spectacular production in 2011 with a multi-level set disappearing off into the surrounding trees which certainly gave the piece a vibrant setting, even if not all the directorial choices held up, but did give Hannah Waddingham as The Witch, Jenna Russell as The Baker's Wife, Beverley Rudd as Red Riding Hood and Michael Xavier as The Prince / The Wolf excellent chances to shine.  In 2016, the American Fiasco Theater Company brought their INTO THE WOODS to the Menier which had a cast of 10 and a near-bare stage. The show survived of course but the relentless "look what we can do with a rope" got old very quickly.  A lovely performance from Harry Hepple as The Baker helped save the day.

I still remember the excitement of buying the orginal cast recording at Tower Records and racing home to play it, reading the libretto and studying the colour foldouts of production shots - and that excitement has not diminished over 36 years, it was a worthy winner of that year's Grammy for Best Cast Recording.  It's a score which moves me greatly, especially in the second act where Sondheim unleashes a succession of songs that cut through to a universal sadness: the Witch's "Lament" then her goodbye to the small-minded humans with "Last Midnight"; The Baker's burnt-out cry for a moment of rest "No More" which leads into the anthemic "No One Is Alone" where the characters realise that a family is not just blood relatives - and in between these there is one of Sondheim's most under-rated solos, The Baker's Wife's "A Moment In The Woods", it's this song that makes the role a real award magnet and makes INTO THE WOODS one of my all-time favourite musicals.

So... what video to pick?  In truth I did not mind the Disney film which despite being truncated actually stayed true to the spirit of the show but it has to be the original Broadway cast, and here is the press reel of clips for broadcast purposes; they are not in chronological order but give you a real flavour of the production featuring the marvellous performances of Bernadette Peters, Joanna Gleason, Chip Zien, Danielle Ferland, Robert Westenberg, and Kim Crosby among others.

50 Favourite Musicals: 12: SUNDAY IN THE PARK WITH GEORGE (1984) (Stephen Sondheim)

The 50 shows that have stood out down the years and, as we get up among the paint cards, the shows that have become the cast recording of my life:

 First performed: 1984, Booth Theatre, NY

First seen by me: 1990, Lyttelton Theatre, London

Productions seen: three
  
Score: Stephen Sondheim

Book: James Lapine

Plot: Paris, 1884: The impressionist painter Georges Seurat obsessively works on his large pointillist painting A SUNDAY AFTERNOON ON THE ISLAND OF LA GRANDE JATTE despite the ridicule of the public and critics; George is also unaware of his mistress Dot's growing resentment until she leaves him.  Despite all this, he finishes his masterpiece.  A hundred years later, Seurat's great-grandson George fears his own artistic vision is fading..

Five memorable numbers: SUNDAY, CHILDREN AND ART, FINISHING THE HAT, PUTTING IT TOGETHER, MOVE ON

So here we go.  Each musical I choose from now on are the ones which mean the most to me, the ones that all feature indelible memories of songs or stage and screen images; these are the ones that on any other day might appear higher up in the chart.  So why does SUNDAY not make it to the Top 10?  A certain austere distancing in James Lapine's book which makes it easy to admire but difficult to love?  The tricky second act where, after the lovely opening scene where each of the painting's characters relate the history of LA GRANDE JATTE and the fate of Seurat, it then pitches into the 1984 sequence which, in essence, entails the audience having to warm to a prickly new lead character too late in the day?  The character of Dot which feels sketched in at best and should be more pronounced?  After the shock Broadway failure of MERRILY WE ROLL ALONG in 1981 which severed forever the working relationship between Sondheim and his longtime director-producer Hal Prince, Sondheim felt disenchanted with musical theatre.  However when he was approached by the younger playwright-director James Lapine he found a new impetus to do something different, more experimental.  Lapine suggested the teasing enigma of Seurat's painting and that was the spur.  The first-ever showing of SUNDAY was at the Off-Broadway not-for-profit theatre Playwrights Horizons for 25 performances only.  When it opened Lapine and Sondheim had only the first act completed - the full show was only staged for the last three performances.  Despite this they still managed to get the show financed for a Broadway transfer in 1984.  Mandy Patinkin and Bernadette Peters, while known stars, had never appeared in a Sondheim show before and despite their frustrations during the Playwrights Horizons run in trying to shape their characters while half the score still was being worked on, they both opened on Broadway and both received Tony Award nominations.  Bernadette was particularly frustrated in the under-developed role of Dot which was only solved when Sondheim's friend playwright John Guare suggested that while Seurat is painting his masterwork maybe Dot can be learning to read?  Dot's joy in bettering herself is all the more cruelly dashed as Seurat is so absorbed in his art.  Sondheim and Lapine also gifted the actress playing Dot with the second act role of Marie, Dot's 98 year-old daughter, before Dot appears again in the final scene which ties in all the strands of the three lead characters.  Lapine's Broadway production was nominated for 10 Tony Awards but only won two design awards, it was the year of the feel-good juggernaut LA CAGE AUX FOLLES which beat SUNDAY in most of the bigger awards; however it did better at the Drama Desk Awards where it won 8 of it's 13 nominations including Best Musical.  By a stroke of luck just as the Box Office was starting to slow down SUNDAY won the Pulitzer Prize for Drama which perked the Box Office up again and the show closed after a year, the good news being that a week after it closed, the cast returned to film it for television which is now available on DVD.

I had to wait six years to see the show - after having fallen in love with Sondheim's score through the original cast recording - but found that National Theatre production disappointing as Maria Friedman failed to soar to Bernadette Peters' artistry but Philip Quast was an excellent Georges / George, deservedly winning the Olivier Award for Best Actor in A Musical.  It also won Best New Musical - beating Sondheim and Lapine's London production of INTO THE WOODS!  It would be 15 years before another London production came along but this time it was the Menier Chocolate Factory's game-changing production which incorporated the wonderful designs of Timothy Bird's digital projections which flooded the stage with colour and fluid movement.  Used with economy and wit, the digital animations were a total delight with nice touches such as the ensemble leaving the onstage 'tableau' of the painting one by one at the start of the second act, while their character digitally reappeared in the original painting behind them hanging on the Art Institute of Chicago's wall.   More importantly they did not distract from the performances particularly that of Daniel Evans who had never been better than as Georges / George.  This production also marked my first time visiting the Menier and it has stayed in my mind as one of their finest productions.  Sam Buntrock's production transferred first to the West End where Evans was joined memorably by Jenna Russell as Dot and then to Broadway in 2008 where I saw it with Owen and my late friend Dezur at Studio 54.  This production was nominated for 7 Tony Awards but failed to win any as it was the year of two other all-conquering revivals of SOUTH PACIFIC and GYPSY.  However Buntrock's production triumphed at the Olivier Awards winning 5 of it's 6 nominations including Best Musical.  But above all, there is Sondheim's wonderful and challenging score - the score shows itself as Sondheim's most personal to date, in particular his glorious solo for Georges "Finishing The Hat" in which he wonderfully encapsulates the joy of the artist in creating something from nothing while acknowledging the personal cost that brings.  Whatever failings the book has, the score for SUNDAY is the one that effects me the most emotionally.  The three songs that finish the first act floor me - Dot's farewell "We Do Not Belong Together" usually starts me off. Georges' duet with his mother "Beautiful" keeps the snuffles on a fairly low-light and then the tears just flow during the final song "Sunday".  One of the most beautiful melodies ever, it's sung softly by the characters in Seurat's painting as he moves around them, arranging them into the final 'tableau' that will freeze as A SUNDAY AFTERNOON ON THE ISLAND OF LA GRANDE JATTE - It gets me EVERY time - and I'm not talking one tear trickling down my cheek, I am talking seat-row-shuddering sobs.  To make things worse, the three last songs of the second act mirror this: George's despairing "Lesson #8", George and Dot's empowering "Move On" and a final reprise of "Sunday"; floods... just floods.

My video choice has to be the first act finale of the filmed original Broadway production with Mandy Patinkin and Bernadette Peters.  The DVD has a commentary by Sondheim, Peters and Patinkin - and Sondheim and Patinkin start to blub during this scene so I am in good company.  Let's see if the score works it's potent magic on me next year when I see it at the Savoy with Jake Gyllenhaal and and Annaleigh Ashford who are repeating their roles of Georges / George and Dot / Marie from the last Broadway revival in 2017.

This week Stephen Sondheim's A LITTLE NIGHT MUSIC reopened at the Walter Kerr Theatre on Broadway after the departure of Catherine Zeta-Jones and Angela Lansbury with the new leads Bernadette Peters as Desiree and Elaine Stritch as Mme Armfeldt.Now I would give my eye-teeth to see them in it but, I don't know, they just look odd on stage...

In other Broadway news, Halle Berry and Samuel L. Jackson have been signed to appear in THE MOUNTAINTOP by Katori Hall which was the surprise winner of the Olivier Award last year for Best New Play.

Mindful that Denzil Washington has just had such a Tony award-winning smash hit with FENCES on the Great White (ahem) Way, there appears to be a scramble to get black film actors on stage.

The latest gossip is that the same producer who blacked up Tennessee Williams' CAT ON A HOT TIN ROOF has approached Will Smith and Jada Pinkett-Smith to co-star in a production of A STREETCAR NAMED DESIRE! The thought of those two pissing all over one of the greatest plays of the 20th Century is really a step too far.

Oh and on the subject of black actors and productions I would give eye-teeth to see....

The box-office opens tonight!

Bloo-dy HELL!

Recently the producers of the New York production of A LITTLE NIGHT MUSIC announced that it's run at the Walter Kerr Theatre would end when the contracts were up for it's stars, Angela Lansbury and Catherine Zeta-Jones.

Whoa chile... it has now been announced that au contraire, after a closure of a month the production will reopen with the jaw-dropping killer-diller double-divadom of Bernadette Peters as Desiree and Elaine Stritch as her mother Mme. Armfelt.

Both are of course are well versed in Sondheim's work - apart from singing his songs in their solo shows Bernadette originated roles in SUNDAY IN THE PARK WITH GEORGE and INTO THE WOODS and in a revival of GYPSY while Stritch originated the role of Joanne in COMPANY and stopped the 1985 FOLLIES concert dead with her version of "Broadway Baby".

Here they are at Sondheim's birthday gala in March separated by David Hyde Pierce...

Looks like the couch is going to be burrowed into one more time for the odd penny...

Birthday Divas

Happy birthday tomorrow to Elizabeth Taylor who has somehow survived her many illnesses, several bad movies and the odd broken heart to become 78!

Here she is catching some rays on the set of GIANT in 1955.

On Sunday it's a Happy Birthday too for the ever-lovely Bernadette Peters... amazingly she's 62 this year and here she is a few weeks ago at the Drama League Celebration of Angela Lansbury in NY.

Lookin' good girl...