Immerse Yourself in Water Magic: Soaking in its Power

Into the Woods Magic: In the musical "Into the Woods," magic plays a central role in driving the narrative and intertwining the lives of various fairytale characters. The concept of magic in this show goes beyond the conventional idea of spells and enchantments and explores the deeper implications and consequences of using such powers. Magic is introduced as a means to fulfill the characters' desires and wishes. The Witch possesses magical abilities and uses them to transform the Baker and his wife's lives. She promises them a child if they retrieve four specific items within three days. This sets the characters on a journey where they encounter other fairytale characters who are also seeking their own fulfillments through magic.

“Into the Woods” entwines characters from classic fairy tales with newly invented ones. Pretty much everyone is yearning for or searching for something. Ah, but how to resolve the dilemma that can arise when you get what you think you want?

Then there s David Patrick Kelly as the Narrator and a Mysterious Man whose identity is no mystery at all; Cole Thompson as young, ingenuous Jack, utterly devoted to his cow, Milky White, the most soulfully expressive puppet I ve ever seen; Kennedy Kanagawa, the exceptionally skillful puppeteer who manipulates Milky White; and Aymee Garcia as Jack s Mother, who tells her son they must sell the cow, asserting, in one of my favorite Sondheim rhymes We ve no time to sit and dither While her withers wither with her. Sondheim s songs, which contain some of his deftest wordplay and most piercing insights, elevate and compensate for the somewhat choppy book by James Lapine, who was also Sondheim s collaborator on Sunday in the Park with George 1984.

This sets the characters on a journey where they encounter other fairytale characters who are also seeking their own fulfillments through magic. However, as the story progresses, it becomes evident that magic comes at a cost. The characters soon realize that their actions have consequences and that the magic they sought can have unexpected and dire outcomes.

‘Into the Woods’ works its magic in a fairy tale with no happily ever after

Before a single word had been spoken or sung at Tuesday night’s performance of “Into the Woods,” a burst of fervent applause rained down upon the cast, who were arrayed across the stage at the Emerson Colonial Theatre, looking out at the packed house.

That audience reaction served as a reminder of the special place this 1987 musical occupies in the hearts of many theatergoers because “Into the Woods” — not, say, “Sweeney Todd,” not even “West Side Story” or “Gypsy” — was their introduction to Stephen Sondheim.

The captivating production at the Colonial, directed by Lear deBessonet, is proof positive that many riches are still to be found in those woods. They remain, to borrow from Robert Frost, “lovely, dark and deep."

That’s not a bad description of Sondheim’s score, actually. But “Into the Woods” encompasses a wide tonal and emotional range, from humor to heartache, in deBessonet’s spare, concert-style production, with the orchestra seated upstage at the Colonial amid a forest of birch trees.

There have been countless high school or regional theater productions of “Into the Woods," not to mention the starry 2014 film version, but its peculiar brand of magic is undimmed.

Sondheim’s songs, which contain some of his deftest wordplay and most piercing insights, elevate and compensate for the somewhat choppy book by James Lapine, who was also Sondheim’s collaborator on “Sunday in the Park with George" (1984).

“Into the Woods” entwines characters from classic fairy tales with newly invented ones. Pretty much everyone is yearning for or searching for something. Ah, but how to resolve the dilemma that can arise when you get what you think you want?

And, not so incidentally, what are they going to do about that rampaging giant who’s flattening everything and everyone in sight?

Act One of “Into the Woods” is frequently funny. Then in Act Two the shadows — Sondheim’s comfort zone — start to fall across those woods in earnest. The body count piles up, and by the end virtually every character left onstage has lost a loved one. Relationships are complex and friction-filled in “Into the Woods”: of husband and wife, of parent and child, of royalty and commoner.

From left: Stephanie J. Block as the Baker's Wife, Sebastian Arcelus as the Baker, and Katy Geraghty as Little Red Ridinghood in "Into the Woods." Matthew Murphy and Evan Zimmerman for MurphyMade

The Baker (Sebastian Arcelus) and the Baker’s Wife (Stephanie J. Block) desperately want to have a baby, but a Witch (Montego Glover) has put a curse on them. To reverse the curse, the Witch tells the couple, they must go into the woods and find a cow “as white as milk,” a cape “as red as blood,” hair “as yellow as corn,” and a slipper “as pure as gold.”

So off the couple goes on that bizarre shopping expedition. The woods turn out to be pretty crowded.

Nearly all of the actors in the touring production that has arrived at the Colonial had performed at some point in “Into the Woods” on Broadway. Perhaps that helps explain why it’s such a well-oiled machine, though there’s nothing mechanical about the performances.

That Broadway-to-Boston roster includes Glover, Arcelus, and Block. (Block and Arcelus will not perform March 28-April 2. For those performances, the roles of the Baker and the Baker’s Wife will be played by Jason Forbach and Ximone Rose.)

Glover is mesmerizing in her ominous Act Two solo, “Last Midnight.” The Witch’s daughter, Rapunzel (Alysia Velez), wants her freedom — not unreasonably after all that time cooped up in the tower — but Glover still cracks the heart in “Witch’s Lament” when she sings: “Children can only grow/ From something you love/ To something you lose.”

Also on board from Broadway are a gleefully hammy Gavin Creel as Cinderella’s foppish Prince and as the sinister Wolf; Katy Geraghty, who is flat-out hilarious as an imperious and fearless Little Red Ridinghood; and Diane Phelan as Cinderella, who entrances Creel’s Prince but, in “On the Steps of the Palace,” gives voice to the ambivalence that runs through “Into the Woods” (”I know what my decision is/ Which is not to decide”).

Then there’s David Patrick Kelly as the Narrator and a Mysterious Man whose identity is no mystery at all; Cole Thompson as young, ingenuous Jack, utterly devoted to his cow, Milky White, the most soulfully expressive puppet I’ve ever seen; Kennedy Kanagawa, the exceptionally skillful puppeteer who manipulates Milky White; and Aymee Garcia as Jack’s Mother, who tells her son they must sell the cow, asserting, in one of my favorite Sondheim rhymes: “We’ve no time to sit and dither/ While her withers wither with her.”

There’s been a stampede of Sondheim revivals since the nonpareil composer-lyricist died in November 2021 at age 91. A new Broadway staging of “Sweeney Todd,” starring Josh Groban and Annaleigh Ashford, began previews last month. Later this year Broadway will be home to a production of “Merrily We Roll Along” starring Daniel Radcliffe of “Harry Potter” fame. In addition, it was recently reported that “Here We Are,” Sondheim’s long-gestating musical inspired by the Luis Buñuel films “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel,” will be presented off-Broadway in September.

But until then, this “Into the Woods” will do nicely.

INTO THE WOODS

Music and lyrics by Stephen Sondheim. Book by James Lapine. Directed by Lear deBessonet. At Emerson Colonial Theatre. Through April 2. $39-$249. 888-616-0272, www.EmersonColonialTheatre.com

Don Aucoin can be reached at [email protected]. Follow him @GlobeAucoin.

This notion is highlighted when the Baker's wife is seduced by the allure of the magic beans and is ultimately crushed by a giantess descending from the beanstalk. The once-desired magic now brings tragedy and regret. Through these events, the show explores the themes of responsibility and accountability. It questions whether it is worth using magic to achieve one's desires if it leads to unforeseen consequences. It forces the characters to reflect on their choices and consider the ramifications of their actions. Furthermore, "Into the Woods" suggests that magic alone cannot solve their problems. It emphasizes the importance of personal growth, moral choices, and the power of human connection. The characters' journeys teach them valuable lessons about empathy, forgiveness, and the complexity of their desires. Magic serves as a catalyst for personal transformation and enlightenment. Overall, "Into the Woods" demonstrates that magic is not merely a tool to achieve superficial desires but a force that challenges the characters' values, choices, and relationships. It reminds us that the decisions we make, whether through magic or otherwise, have far-reaching consequences that should not be taken lightly. It urges us to consider the potential impact of our actions and the importance of personal growth in navigating the complexities of life..

Reviews for "Cleansing and Purification: Using Water Magic to Renew and Recharge"

1. Sarah - 2 stars - I was really excited to start reading "Into the Woods Magic" as fantasy is one of my favorite genres. However, I found myself quite disappointed with this book. The plot felt disjointed and confusing, with many threads introduced but never fully explored or resolved. The characters were also quite one-dimensional and lacked depth, making it hard for me to connect and empathize with them. Overall, I found the book to be lacking in substance and it didn't live up to my expectations.

2. John - 1 star - "Into the Woods Magic" was a complete letdown for me. The writing style was incredibly verbose and overly descriptive, making it hard to stay engaged in the story. The pacing was also sluggish, with the plot dragging on without any major climaxes or twists. I found myself struggling to finish the book, as it felt like a chore rather than an enjoyable reading experience. Unfortunately, I cannot recommend this book to others.

3. Emily - 2.5 stars - While "Into the Woods Magic" had an interesting premise, I felt that the execution fell flat. The world-building was weak, leaving many unanswered questions about the magical system and the history of the world. The dialogue also felt forced and unnatural, making it hard for me to fully immerse myself in the story. Additionally, the romantic subplot felt rushed and lacked chemistry between the characters. Overall, I was underwhelmed by this book and it didn't leave a lasting impression on me.

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