Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.
Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.
Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.