I’d never really considered the difficulty of singing Sondheim until I watched the second act of ASA’s current production of “Into the Woods.” I’d spent the first part of the evening enjoying a Rising Youth Theatre dress rehearsal, so all the fairytale folly of “Into the Woods” was well underway by the time I got there.
My own stellar singing career consisted of back-up vocals in bars with a bent for country western tunes while working to put myself through grad school. I thought everybody read Kant and Sartre steeped in bowls of stale peanuts, but nowadays I suppose we should be grateful to find folks reading just about anything.
If you’re fond of reading fairy tales, you might enjoy the twist on all things “happily ever after” that’s at the heart of “Into the Woods” — a musical featuring book by James Lapine plus music and lyrics by Stephen Sondheim, a writer whose work I’m still exploring in the hot pink “Look, I Made a Hat.”
“Into the Woods” opened at the Old Globe Theatre in San Diego in 1986, where George Takei of “Star Trek” fame opens his new musical “Allegiance” later this year. It moved to Broadway in 1987 with Bernadette Peters in the role of “Witch” and Johanna Gleason in the role of “Baker’s Wife” (the role Amy Adams will rock during this year’s Shakespeare in the Park production of “Into the Woods” from Public Theater in NYC).
The Arizona School for the Arts production, directed by Beck (she uses just a single name), was hysterical. Think funny, not frantic. The student cast in the role of Witch did an especially fine job singing Sondheim’s material. I’m hoping they’ll send a program my way so I can share the student’s name and give her proper credit for a truly solid performance.
I was less wowed by the set, built out (perhaps to house student musicians — who also did a stellar job) rather than recessed. I’d have preferred more of a deep, dark forest vibe, but that’s probably just my love affair with trees talking. And I’m about as qualified to design sets as I am to sing in front of even the most intoxicated patrons.
Over in Glendale, Spotlight Youth Theatre is performing “Sweeney Todd: School Edition” featuring book by Hugh Wheeler plus music and lyrics by Sondheim. Music Theatre International notes that “Sweeney Todd” was adapted for youth performance by “working directly with Mr Sondheim to retain the dark wit and grand scope of the original work, with a few lyric and key changes to facilitate high school productions.”
“Sweeney Todd: The Demon Barber of Fleet Street” is based on Christopher Bond’s take on “The String of Pearls,” believed by some to be rooted at least partially in historical events. It opened on Broadway in 1979 with a cast that included Len Carious (Sweeney Todd) and Angela Lansbury (Mrs. Lovett).
Some consider “Sweeney Todd” a tale of ruin and revenge — but I’ve always been more partial to its tender, rather than tenderized, side. A family torn apart. A young man pining for a girl who’s out of reach. A motherless boy seeking to protect a childless woman from harm.
Nowadays, a click of the mouse will get you Johnny Depp when you’d really rather find Sondheim. Fond as I am of Depp’s portrayal of Todd in the 2007 film, I’d be sad to see a generation familiar only with Sweeney on the big screen. Best to enjoy “Sweeney Todd” on stage but get your tickets as well for “Dark Shadows,” where we’ll all be treated to a bit of dracula meets disco as only Depp can deliver it.
A final word before you head out to support all those students charged with singing Sondheim — best to leave kids younger than middle school age at home for these shows. “Into the Woods” is best appreciated by adults, though teens also love the fractured fairy tale vibe. And “Sweeney Todd” has mature themes, including murder, that your little one don’t need swimming around in their heads.
I took Lizabeth to see the Arizona Opera production of “Sweeney Todd” when she was barely in the double digits. To this day, she’s fed up any talk about the worst pies in London.
Coming up: How groovy is that?
Update: “Sweeney Todd School Edition” is also part of Greasepaint Youtheatre’s 2012-2013 season — which also includes “13,” “Disney’s the Little Mermaid Jr.,” “How to Succeed in Business Without Really Trying” and “Dear Edwina.” Click here for details. 5/1/12