Analysis of Book and Music
In most productions of Into the Woods, including the original Broadway production, several parts are doubled. Cinderella's Prince and the Wolf, who share the characteristic of being unable to control their appetites, are played by the same actor. Similarly, the Narrator and the Mysterious Man, who share the characteristic of commenting on the story while avoiding any personal involvement or responsibility. Granny and Cinderella's Mother, whose characters are both matriarchal characters in the story, are also typically played by the same person, who also gives voice to the nurturing but later murderous Giant's Wife.
The show covers multiple themes: growing up, parents and children, accepting responsibility, morality, and finally, wish fulfillment and its consequences. The Time Magazine reviewers wrote that the play's "basic insight ... is at heart, most fairy tales are about the loving yet embattled relationship between parents and children. Almost everything that goes wrong — which is to say, almost everything that can — arises from a failure of parental or filial duty, despite the best intentions." Stephen Holden wrote that the themes of the show include parent-child relationships and the individual's responsibility to the community. The witch isn't just a scowling old hag, but a key symbol of moral ambivalence. James Lapine said that the most unpleasant person (the Witch) would have the truest things to say and the "nicer" people would be less honest. In the Witch's words: "I'm not good; I'm not nice; I'm just right."
The score is also notable in Sondheim's output, because of its intricate reworking and development of small musical motifs. In particular, the opening words, "I wish", are set to the interval of a rising major second and this small unit is both repeated and developed throughout the show, just as Lapine's book explores the consequences of self-interest and "wishing." The dialogue in the show is characterized by the heavy use of syncopated speech. In many instances, the characters' lines are delivered with a fixed beat that follows natural speech rhythms, but is also purposely composed in eighth, sixteenth, and quarter note rhythms as part of a spoken song. Like many Sondheim/Lapine productions, the songs contain thought-process narrative, where characters converse or think aloud.
Sondheim drew on parts of his troubled childhood when writing the show. In 1987, he told Time Magazine that the "father uncomfortable with babies his father, and mother who regrets having had children his mother."
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