The title character of “Redwood,” the musical that opened Thursday evening on the Nederlander Theatre, is a humongous northern California tree.
Theater assessment
REDWOOD
One hour and 50 minutes, with no intermission. On the Nederlander Theatre, 208 West forty first St.
Onstage, the centuries-old conifer enters dramatically like a wood grande dame and towers over the 5 actors. The majestic set piece by designer Jason Ardizzone-West is so huge, star Idina Menzel and the remaining are capable of scale it utilizing ropes and harnesses.
Too dangerous the Broadway present named after the wood big is a toothpick.
The story of a collapsing New York lady named Jesse (Menzel), who escapes west to the forest on the primary anniversary of her son’s demise, “Redwood” is a shallow exploration of grief that’s as apparent as its sledgehammered central metaphor: She’s the tree, roots and all.
Falling aside, Jesse hops within the automobile with out telling photographer spouse Mel (an underused De’Adre Aziza) about her spontaneous journey to the opposite coast. Not even a “so if you care to find me, look to the western sky.”
As soon as in Eureka, Calif., within the wilderness strikingly depicted on massive screens, she stumbles upon a pair of scientists.
Regardless of touring hundreds of miles to take a hike, Jesse’s not a nature lady. “I hate greenery,” she proclaims. “If I even think about grass, I get Lyme Disease.”
Certainly, writer-director Tina Landau has all her characters abruptly announce their defining traits like they’re on “The Dating Game.”
When Jesse meets Finn (Michael Park), a veteran climber and optimist, he proudly says, “Got my head in the clouds!”
His youthful colleague Becca (Khaila Wilcoxon), irritated and skeptical, rapidly retorts: “Got my feet on the ground.”
Obtained my head in my palms.
Jesse, usually a risk-averse workaholic, is instantly compelled to ascend the redwood that the duo has been finding out. Finn, a kindhearted hippie, is on board with the thought. However rule-abiding Becca is adamantly opposed. (Clouds! Floor!). That muddled character, whose volcanic anger solely exists to drum up battle the place there in any other case is none, is the worst-written within the present.
Wilcoxon wows anyway along with her highly effective voice, nevertheless it will get wasted on composer Kate Diaz’s loud and repetitive ballads. One, by which Becca explains how the redwoods witnessed “human history’s growing pains,” is a lecturing “We Didn’t Start The Fire” that packs within the beginning of Jesus, the writing of the Magna Carta and the Civil Battle. Lofty!
Predictable as sundown, Jesse nonetheless goes up and Menzel straps in. The aerial sequences, by which the actors push themselves off the tree and spin round whereas accompanied by lush orchestral music, are speculated to be euphoric and life-affirming. “I’m flying, Jack!” That sort of factor. At finest, nonetheless, they’re surreal.
Menzel’s songs are tailor-made to the actress’ pop belt, which is thrilling in components and wobbly in others. As she wails lesser variations of “Defying Gravity” and “Let it Go,” you sense the inventive staff’s mantra was “give the people what they want.” What we wish, although, is Menzel now — not Menzel in 2003. I used to be apprehensive she wouldn’t make it via among the trickier numbers. She strikes nearer to 2025 along with her maternal performing.
Alone and making camp tons of of ft within the air, Jesse battles the unforgiving parts and her personal buried fears and insecurities. In a stormy monologue, Menzel vulnerably inhabits a mom who’s each working to and from the reminiscence of her son Spencer, even when her quick-cut, poetic speech may finish with “Moo with me!”
The musical, which premiered in San Diego final yr, additionally presciently considerations west coast wildfires.
There’s trauma after trauma. But what’s so puzzling about “Redwood” is that it’s a textbook tearjerker — a mother in mourning rediscovering herself midair, weighty speeches about dropping every thing — that leaves your eyes completely dry.
The closest the musical involves being remotely affecting is a quiet tune towards the tip known as “Still,” fantastically sung by Zachary Noah Piser as Spencer.
Jesse’s winding rationalization for her son’s demise ought to be scrapped and fully rewritten, however Piser has a velvet voice and an simply emotional presence regardless.
“Redwood” gave me a renewed appreciation for “Into the Woods” and its composer-lyricist Stephen Sondheim. His present has the identical themes, and the tune “No One Is Alone,” softly sung by Cinderella, is a smart meditation on loss among the many leaves that goes straight for the soul.
There’s nothing half so deep from Elsa.
