The dense woods are an enchanting realm, where magical melodies linger in the air. Amidst the towering trees and whispering leaves, **witchy tunes intertwine**, creating a symphony of arcane music that resonates through the souls of those who dare to venture into this mystical realm. As you traverse the winding paths, a sense of otherworldliness surrounds you. The air is filled with the ethereal sounds of flutes and string instruments, playing haunting melodies that seem to emanate from every nook and cranny. These **witchy tunes** blend seamlessly with the ancient chants of unseen forces, creating an atmosphere of both wonder and unease. The **interweaving melodies** have a rhythm of their own, a rhythm that is deeply connected to the ebb and flow of nature.
The **interweaving melodies** have a rhythm of their own, a rhythm that is deeply connected to the ebb and flow of nature. The chirping of birds becomes part of the symphony, harmonizing with the tinkling of bells and the soft hooting of owls. It's as if the entire forest has become a living, breathing orchestra, conducting a spellbinding performance for those who are willing to listen.
Witchy tunes intertwining in the woods
Into the Woods—the much-loved Stephen Sondheim and James Lapine musical that finds the lives of several Grimm fairy tale characters intertwining as they venture through the woods in pursuit of happy endings—has once again journeyed to Broadway. This third revival of the 1987 musical, a transfer of the recent New York City Center Encores! production, opened at the St. James Theatre July 10 and recently extended its initial limited run at the St. James Theatre, now through October 16, with the cast extending through September 4.
With the return of the show comes another welcome return: Tony winner Patina Miller is back on Broadway after an eight-year absence, appearing as the Witch, the complicated foe to the musical’s lead Baker and Baker’s Wife. Not that Miller hasn’t been busy while she’s been away, though…the Sister Act and Pippin star spent six seasons as a series regular on the CBS political drama Madam Secretary and currently leads the cast of the Starz series Power Book III: Raising Kanan, as Raq, the queenpin mother of one of the Power universe’s main characters. She’s also in recent years become a mother herself, a life role that has greatly informed her latest stage role.
Playbill chatted with Miller about her turn as the Witch (a role she also played in the 2019 Hollywood Bowl production) and about the timelessness of Sondheim and the lessons taught in Into the Woods.
How is the experience of performing Sondheim's work unique from other musicals?
I think there is something about his work and the way it relates to real life. Sondheim has been able to tap into humanity, and that’s why we are all able to connect at a deeper level to the work. No matter your age, his words stay with you. I do feel that’s what’s different about Sondheim, not only his ability to hit you with lyrics but also the music—and it all means something, and it’s a very special thing to have a piece of work that stands the test of time. This show in particular has really come about when the world needed it. He’s really able to get into it, get into the deep-rooted issue of what we go through and especially in Into the Woods.
What’s your favorite lyric from Into the Woods and why?
My favorite lyric from the show is “Children may not obey but children will listen. Children will look to you for which way to turn, to learn what to be. Careful before you say listen to me, children will listen.”
I think it’s so perfectly a reminder for all of us that not only are children our future, but that you have the ability to shape a child’s mind. It starts at the beginning. To be careful of what you say because children are always listening. They may not obey, but what you say carries weight. This is the next generation; they’re getting the information, and it can affect them and the choices that they make for the rest of their lives.
Do you see the witch as a villain? Why or why not?
I don’t see the witch as a villain; I think she’s a truth teller. I see the witch as a woman who is heavily flawed…a woman who has had a lot of damage and trauma in her life. She wants to change her life, to be transformed. She wants to be with her daughter. I see the witch as a wounded mother who wants to so desperately connect with her child and shield her and protect her from the world and she goes through great lengths to do that. A lot of the witch’s ferocity comes through her desire to keep her daughter safe and with her.
What do you think is the greatest lesson of Into the Woods?
The greatest lesson of Into the Woods is to be careful of fairy tales. They seem perfect, but life isn’t a fairy tale. There is going to be hardship, and there are actions and consequences for everything. Life will have its up and its downs, but it’s the living that’s the most important.
How has your experience of the work changed as you’ve grown older?
I worked on a lot of Sondheim material when I graduated from college. Some things I understood, but there are lyrics/depth that I didn’t get then. It was very surface especially as it came to Into the Woods and the stuff with Little Red. Later in life, after having a child, after experiencing heartbreak—the highs and lows in life—you kind of get what he means. The lyrics hit differently. It’s very easy to immerse yourself in the piece and tell the story because you get it. On the page, you can say it’s a grumpy old witch or it’s a mean old wolf, but when you think about it, these are just archetypes and the witch and wolf can be anyone. And you realize, the witch is a mother who just wants to protect her child and a lot of this stuff comes out of that desperation.
What are some of the moments that have made up own your life?
There have been so many moments, it’s hard to get them all down to a few sentences, but becoming a mother was the moment my life changed. I’m a different person now because of it.
Although the song was almost certainly written about the mind-expanding effects of drugs, it can also be applied to the expansiveness of witchcraft, spirituality, and mysticism as well (which of course, can also go hand-in-hand with mind-altering substances). Ritual, magical practice, and spiritual enlightenment all involve moving beyond the ordinary to embrace the extraordinary—and though the experience is different for everyone, they all involve “breaking through to the other side” in one way or another.
As you follow the enticing sounds, you realize that there is more to this music than meets the eye. It tells stories of forgotten rituals and ancient incantations, secrets whispered from generation to generation. The music reaches deep into your soul, awakening a long-lost connection to the mystical realms of old. But as mesmerizing as the **witchy tunes** may be, there is a certain danger lurking within the woods. They serve as a siren song, enticing unsuspecting wanderers to venture deeper into the heart of the forest, where dark magic awaits. The music grows louder, more urgent, beckoning you to follow its lead. In the embrace of the **woods' enchantment**, it is easy to lose track of time and space. Shadows dance and flicker, taking on eerie shapes that seem to mock reality. The **witchy tunes** become more powerful, their melodies intertwining with the very essence of the forest. They wrap around you, ensnaring your senses and blurring the line between what is real and what is not. Ultimately, the **witchy tunes intertwining in the woods** are a symbol of the ancient allure and power of witchcraft. They remind us of the thin veil that separates the mundane from the magical, and the profound connection between music and the supernatural. It is a reminder that even in the most ordinary of places, there is always a touch of the extraordinary, waiting to be discovered by those who are willing to listen with an open heart and mind..
Reviews for "The Witch's Melodies: Exploring the Ancient Practices of Music in the Woods"
1. Sarah - 2 stars - I wasn't a fan of "Witchy tunes intertwining in the woods." The music felt outdated and cliché, with predictable melodies and generic lyrics. It lacked originality and failed to bring something fresh to the table. Additionally, the performance felt uninspired, lacking energy and passion. Overall, I was disappointed with this musical experience.
2. John - 3 stars - While "Witchy tunes intertwining in the woods" had its moments, I found it to be a bit scattered and disjointed. The transitions between different musical styles and themes were abrupt, making it difficult to fully immerse myself in the story. The lyrics were also hard to understand at times, which hindered my enjoyment of the performance. Despite some interesting ideas, the execution fell short, leaving me feeling unsatisfied.
3. Emily - 2.5 stars - As someone who appreciates musicals, I expected more from "Witchy tunes intertwining in the woods." The storyline felt convoluted and confusing, making it hard to connect with the characters and their motivations. The songs, while catchy at times, lacked depth and emotional resonance. I struggled to stay engaged throughout the show and left feeling underwhelmed. Overall, it just didn't live up to my expectations as a theater enthusiast.