With Encores! announcing their 2015 season of Off-Broadway pieces to revisit (including the wonderful A New Brain, the bankable but unnecessary Little Shop of Horrors and the intriguing but uneven Lippa's The Wild Party), I thought it might be interesting to look at some Off-Broadway titles that are ripe for exploration through this series.
Every season, we are inundated with a long list of musicals that are in development and that are based on famous source material. We speculate about their potential and wonder if they will work, often resigning ourselves to the fact that they will never live up to the movie, play or book that we adore. Sometimes, we are surprised when we enter the theatre and find that the music and lyrics, along with a fresh viewpoint, concept and/or casting choice can illuminate the piece in ways we hadn't imagined. This article is a valentine to the musicals that DID work and either captured their source material beautifully, or improved up them. I am limiting my list to pieces that I personally saw AFTER I had read the play, book or watched the movie from which they derived.
Maybe it is because Pippin is getting ready to close on Broadway, or perhaps because it has been announced that a big-screen adaptation of the piece is in the works, or maybe it is because I generally enjoy the music and lyrics of Stephen Schwartz no matter the overall quality of the musical they derive from, but I have found myself exploring his compositions a lot lately and growing to appreciate all of the wonderful poetry and imagery therein. Schwartz blends achingly palpable emotion, heightened drama, humor, evocative elements of nature, and rich, atmospheric melodies in all of his scores that both transport the listener and illuminate their personal human experience.
I must preface this review by making my readership aware of my deep love affair with the stage musical of Into the Woods. James Lapine and Stephen Sondheim constructed a piece of theatre that was very personal for me and, through myriad viewings of the original Broadway cast, the show has become, not only an emotional outlet for me, but an important influence in how I view and respond to the world.
It is with a heavy heart, then, that I left the movie theatre this Christmas Day feeling like I was given a very uneven film treatment of Into the Woods. There is a tremendous amount to admire, but there is also a tremendous amount to disappoint. Director Rob Marshall and screenwriter Lapine, in fits and starts, have crafted an Into the Woods that is streamlined and spare, having excised much of the piece's humor, heart, and gravitas in an effort to keep the film moving.
