Surf Curse is an American indie rock band known for their unique blend of surf and punk sounds. They have gained a loyal following over the years, and fans are always excited to see what new music they will release next. In anticipation of their upcoming album in 2023, many have been speculating about what the song lineup will look like. While the band has not officially announced the tracklist, there are a few ideas floating around based on their previous releases and performances. Some fans are hoping to hear classic Surf Curse vibes with catchy guitar riffs and heartfelt lyrics, while others are curious if the band will experiment with new sounds and styles. One thing is for certain though, Surf Curse never fails to deliver powerful and captivating songs that leave a lasting impression.
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.)
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. 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.
One thing is for certain though, Surf Curse never fails to deliver powerful and captivating songs that leave a lasting impression. Whether it's a fast-paced anthem or a slower, introspective ballad, each song is sure to evoke emotions and resonate with listeners. As fans eagerly await the release of Surf Curse's new album in 2023, they can't help but wonder what surprises and gems will be included in the song lineup.
‘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.
Montego Glover as the Witch in "Into the Woods." MATTHEW MURPHY AND EVAN ZIMMERMAN FOR MURPHYMADESondheim’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”).
Gavin Creel as the Wolf in "Into the Woods." Matthew Murphy and Evan Zimmerman for MurphyMadeThen 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.
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."
The anticipation is high, and fans are ready to dive into the world of Surf Curse once again and let the music wash over them..
Reviews for "Surf Curse's 2023 Song Lineup: A Blend of Indie Rock and Dream Pop"
1. Jessica - 2/5 stars - I was really disappointed with Surf Curse's song lineup for 2023. I've been a fan of their previous albums and was excited to see what they had in store for this year. However, the songs they released just didn't resonate with me. They seemed repetitive and lacked the unique sound that drew me to Surf Curse in the first place. I hope they can experiment more with their music in the future.
2. Brian - 2/5 stars - As a longtime fan of Surf Curse, I was really let down by their song lineup for 2023. It felt like they were just trying to ride on the success of their previous albums without putting much effort into creating something new and exciting. The songs all blended together and I found myself losing interest quickly. I was hoping for growth and evolution in their sound, but instead, I got songs that felt uninspired and forgettable.
3. Sarah - 1/5 stars - I absolutely hated Surf Curse's song lineup for 2023. It felt like a complete departure from their previous work, and not in a good way. The songs were chaotic and lacked any sense of cohesiveness. It felt like they were trying too hard to be experimental without actually creating anything enjoyable to listen to. I was hoping for more catchy hooks and relatable lyrics, but instead, I got a mess of noise. I won't be listening to this album again.
4. Mark - 2/5 stars - I was really excited for Surf Curse's new songs in 2023, but I found myself disappointed with their song lineup. The songs lacked the infectious energy and catchy melodies that I loved about their previous albums. They seemed to have lost their unique sound and tried too hard to fit into a mainstream mold. I hope they can get back to their roots and create music that truly captures their essence. As it stands, this album just didn't do it for me.
5. Emily - 1/5 stars - I was a big fan of Surf Curse, but their song lineup for 2023 was a huge letdown for me. The songs all sounded the same and didn't have any memorable hooks or melodies. It felt like they were just going through the motions without putting any real effort into creating something special. I was hoping for a new favorite album, but this definitely wasn't it. I won't be listening to this album again.