Stephen Sondheim and James Lapine’s musical Into the Woods attempts to be about a lot of things. Love – between mothers and daughters, princes and maidens, men and themselves. Loss – trying to rationalize the end of human life. Abandonment – a father who left his family as a young man confronts his son about to do the same, in a lovely piece of writing called No More.
But like most of Sondheim’s post-Hal Prince career, there is a general messiness to the piece. (Prince, Oscar Hammerstein and Jerry Robbins are perhaps the only geniuses of American musical theatre structure.