Search results
Results From The WOW.Com Content Network
The second collaboration between Sondheim and Lapine after Sunday in the Park with George (1984), Into the Woods debuted in San Diego at the Old Globe Theatre in 1986 and premiered on Broadway on November 5, 1987, where it won three major Tony Awards (Best Score, Best Book, and Best Actress in a Musical for Joanna Gleason), in a year dominated ...
Stephen Sondheim and James Lapine wrestled with the weirdness and contradictions of children’s stories to such brilliant and unsettling ends that “Into the Woods” has developed its ...
Chris Bay described the song as a "magnificent double duet" in his essay A Look Behind Into the Woods. [17] In Don Whittaker and Missy Wigley's essay Once Upon a Time to...Happily Ever After , cited the song's universal theme that permeates throughout Sondheim's work, from Bobby in Company to George in Sunday In The Park With George to Fosca in ...
Stephen Sondheim and James Lapine weren’t too proud … In “Into the Woods,” the audience laughs at the gluttony of the Little Red Ridinghood character, especially in the earliest, most ...
Stephen Sondheim circa 1970. Stephen Sondheim was an American composer and lyricist whose most acclaimed works include A Funny Thing Happened on the Way to the Forum (1962), Company (1970), Follies (1971), A Little Night Music (1973), Sweeney Todd: The Demon Barber of Fleet Street (1979), Sunday in the Park with George (1984), and Into the Woods (1987).
Although Sondheim has been called the first composer to bring rap music to Broadway (with the Witch in the opening number of Into the Woods), he attributed the first rap in theater to Meredith Willson's "Rock Island" from The Music Man (1957). [26] Into the Woods was revived on Broadway in 2002 [75] and at the St. James Theatre in 2022.
The 1987 revisionist fairy-tale musical that debunks the happy ending returns to Broadway in a minimalist production, also starring Brian d’Arcy James, Patina Miller and Phillipa Soo.
In “Into the Woods,” the audience laughs at the gluttony of the Little Red Ridinghood character, especially in the earliest, most deliberately cartoony parts of the production. But in a sense ...