Lapine, James

Into the Woods

Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.

Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.

Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.

The DVD version is comparatively no-frills, given its American Playhouse origins, but multiformat digital audio renders the musical performances in immaculate detail. --Sam Sutherland

Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.

Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.

Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.

The DVD version is comparatively no-frills, given its American Playhouse origins, but multiformat digital audio renders the musical performances in immaculate detail. --Sam Sutherland

A baker and his wife journey into the woods in search of a cow, a red cape, a pair of golden slippers and some magic beans to lift a curse that has kept them childless. Tony Award winners Bernadette Peters, Joanna Gleason and the rest of the original Broadway cast weave their magic spell over you in Stephen Sondheim's masterpiece, directed by James Lapine, a seamless fusion of fairy tale characters and what happens after "happily ever after. "With oft-recorded songs such as "Children Will Listen" and "No One is Alone," "Into the Woods" is a music lover's delight from start to finish--and will forever cement Stephen Sondheim's unparalleled position as the giant of the American musical theater.

Impromptu

Still more Victorian country-house shenanigans: novelist George Sand (Judy Davis, affected but pretty darn charming) has eyes for Franz Liszt's young protégé Chopin (Hugh Grant, solid as always, but burdened by a silly Polish accent and a script that never lets him stretch out), but various lovers, jealous rivals, and Chopin's own overdeveloped sense of propriety conspire to confound her. Impromptu is witty but overlong--probably 20 minutes of hijinks and repartee, not to mention several completely gratuitous and redundant characters, could have been sliced from the film. Davis plays Sand as an impetuous, overgrown tomboy, outraging her genteel hosts by wearing pants, chomping cigars, and falling off horses; her coterie of artist-friends assure us, in a series of naked plot devices, that she nonetheless has a heart of gold. It's all good silly fun, and about as feminist as your average Def Leppard video--the other two developed female characters are ugly stereotypes: a featherbrained, feckless social climber (Emma Thompson, who once again proves she's up for anything) and a spiteful, back-stabbing shrew (the ever-capable Bernadette Peters). Director James Lapine clearly belongs to the Dr. Quinn school of historical accuracy, so don't expect to learn anything about the period or the artists themselves. Impromptu is far more Melrose Place than Mrs. Dalloway, or perhaps best described as an episode of Entertainment Tonight set in the 19th century. --Miles Bethany

Stephen Sondheim's Passion (Original Broadway Cast)

Based on the Italian movie Passione d'amore, Stephen Sondheim's Passion is a story of obsessive love. Giorgio (Jere Shea), a soldier, and Clara (Marin Mazzie), a woman with a husband and child, are deeply in love, but their idyllic happiness is disrupted when Giorgio is transferred to another post. Here he meets Signora Fosca (Donna Murphy), a homely and ill woman who is the cousin of the regiment's commanding officer. Fosca soon falls in love with Giorgio and pursues him relentlessly, saying "Loving you is not a choice / It's who I am." He is repulsed and resists her advances, but eventually he succumbs to the power of her love.

Rather than a succession of individual songs strung together by dialogue, Stephen Sondheim's score is a constant flow of gorgeous music. (The original theater program listed no individual songs.) The plot is conveyed by song, some dialogue, letters between the characters, and a group of soldiers that serves as a Greek chorus. The result is more of a chamber opera than a conventional musical. Passion won Tonys for Best Musical, Best Score, and Best Book of 1994.

This video is a stage production filmed for American Playhouse with all of the original Broadway principals, though not before a live audience. To suit television audiences, the producers weakened the opening love scene by removing the nudity of the stage version; instead Mazzie awkwardly tries to keep herself wrapped in sheets as she sings to Giorgio of her bliss. Murphy gives a powerful, Tony-winning performance as Fosca, Mazzie is in glorious voice as Clara, and Shea brings a pretty voice, a pretty face, and a wooden personality to Giorgio. --David Horiuchi

An unforgettable chronicle of the redemptive power of love, this is a mesmerizing musical rhapsody from the Broadway team of Stephen Sondheim and James Lapine. In 19th century Italy, handsome soldier Giorgio, is embroiled in a steamy affair with lovely, and married, Clara. Giorgio is transferred from Milan to a remote military outpost where he comes into contact with the ailing, homely Fosca, his commanding officer's cousin. Fosca falls instantly and deeply in love with Giorgio, who resists her affections. Gradually she reveals, and Giorgio learns to appreciate, what is truly beautiful about herself. This highly acclaimed Broadway musical features extraordinary performances from Donna Murphy (The King & I), Marin Mazzie (Ragtime, Kiss Me Kate) and Jere Shea (Damn Yankees). A haunting study of obsessive love, this striking production offers a visual and musical feast that will linger in your heart and soul forever! Winner of 4 Tony Awards: Best Musical, Best Actress (Musical) - Donna Murphy, Best Book (Musical) - James Lapine, Best Original Musical Score - Stephen Sondheim

Life with Mikey

Michael J. Fox's Mikey is the Broadway Danny Rose of child actors. A former child sitcom star turned half-hearted agent to a stable of overeager adolescents, he finds a natural talent when he watches a 12-year-old pickpocket (Christina Vidal) work a crowd to tears. Of course, nothing comes without a price, and the self-involved bachelor soon becomes the unlikely big brother to street-smart Vidal, who soon gives way to sunny cheer. Fox is such an inspired casting choice that most critics missed the undercurrent of self-loathing and loneliness in his impulsive irresponsibility and glib, effortless charm, and Nathan Lane is hilarious as his overworked brother and business partner. They don't get much help from the script, which bounces between smarmy showbiz satire and warm, fuzzy family comedy and winds up as neither, but they manage to make it funny nonetheless.--Sean Axmaker

Hollywood favorite Michael J. Fox (BACK TO THE FUTURE Trilogy) is at his best in this hilarious comedy about show biz. Fox stars as Mikey, a former child star having a little trouble with his new role as a kids' talent agent. He's desperate to find a way to keep his third-rate talent agency from going under when he meets Angie, a young con artist. With her streetwise smarts and irresistible charm, she's a natural for TV commercials and could be their ticket to the big time -- if they don't drive each other crazy first! Count on big laughs with LIFE WITH MIKEY, a fun-filled comedy treat that's sure to entertain everyone!

The Stephen Sondheim Collection (Into the Woods / Sunday in the Park with George / Follies in Concert / Passion / Sweeney Todd in Concert / A Celebration at Carnegie Hall)

The six-disc Stephen Sondheim DVD Collection is pure Broadway gold, encompassing three original Broadway cast performances and three all-star concerts celebrating the work of musical theater's most important composer over the last half of the 20th century. Into the Woods is Sondheim's most popular show, an amalgam of fractured fairy tales and what happens after "happily ever after." Bernadette Peters heads the cast, joined by Tony winner Joanna Gleason and Chip Zein. Sunday in the Park with George was Sondheim's immediately preceding work, also a collaboration with writer-director James Lapine and also starring Bernadette Peters. She plays Dot, the mistress of brilliant French pointillist painter Georges Seurat (Mandy Patinkin), in a powerful work about the nature of art and the artist that gains substantially when you can see the staging elements. The third Broadway cast performance is Passion, which was shot on stage though not before a live audience. It's a story of obsessive love in which the romance between Giorgio (Jere Shea) and Clara (Marin Mazzie) is disrupted by a strange woman named Signora Fosca (Tony winner Donna Murphy).

Sweeney Todd is generally considered Sondheim's best work, and it's well performed by Patti LuPone and George Hearn (reprising his role as the demonic barber almost 20 years after he played it opposite Angela Lansbury in a 1982 video recording). Follies in Concert was an attempt to right a wrong created by a truncated original cast recording, so it's ironic that roughly half the program is backstage material combined with only 47 minutes of concert footage. There are some brilliant moments, though, from such performers as Barbara Cook, Hearn, Patinkin, and Lee Remick. A Celebration at Carnegie Hall is another all-star cast performance of both Broadway stars and operatic voices peppered with comedy from Bill Irwin. Highlights include the ensemble numbers, Daisy Egan's "Broadway Baby," and Patrick Cassidy and Victor Garber's "The Ballad of Booth," which is about as close as you'll get to an original cast performance of Assassins. All in all, this invaluable set preserves and celebrates an important body of work that may never again be documented this well. --David Horiuchi

Earthly Possessions

Susan Sarandon is Charlotte Emory, a sexually frustrated unhappy homemaker who longs for her husband to stop taking her for granted. Stephen Dorff is Jake Simms, a bank robber with a vicious temper and the obligatory heart of gold. When Jake attempts a bank robbery, Charlotte becomes his hostage. Together, they go on the lam.

Thelma and Louise this isn't. This original HBO film, Earthly Possessions, based on the Anne Tyler novel, is a sentimental road movie that requires more than a little suspension of disbelief (that they're able to escape in the first place is a miracle). Yet Sarandon, even in the most disappointing of roles, is a phenomenal actress who will make us believe just about anything. And so she does here; even with the trademark two-dimensionality of Tyler's characters, Charlotte Emory is a woman you can't help but care about. Dorff, with his rough-and-tumble good looks, is fairly believable as the irresponsible hooligan, and despite the unlikelihood of a relationship developing between these two, you are sucked into the romance right with them. Throw in a couple of car chases and a pregnant girlfriend, and you've got an entertaining, lighthearted film. While the ending is a little disappointing, fans of Tyler's novels and her other books on film (Saint Maybe and Breathing Lessons) will surely be swept away. --Jenny Brown

Into the Woods

A baker and his wife journey into the woods in search of a cow, a red cape, a pair of golden slippers and some magic beans to lift a curse that has kept them childless. Tony Award winners Bernadette Peters, Joanna Gleason and the rest of the original Broadway cast weave their magic spell over you in Stephen Sondheim's masterpiece, directed by James Lapine, a seamless fusion of fairy tale characters and what happens after "happily ever after. "With oft-recorded songs such as "Children Will Listen" and "No One is Alone," "Into the Woods" is a music lover's delight from start to finish--and will forever cement Stephen Sondheim's unparalleled position as the giant of the American musical theater.

Earthly Possessions [Region 2]

Susan Sarandon is Charlotte Emory, a sexually frustrated unhappy homemaker who longs for her husband to stop taking her for granted. Stephen Dorff is Jake Simms, a bank robber with a vicious temper and the obligatory heart of gold. When Jake attempts a bank robbery, Charlotte becomes his hostage. Together, they go on the lam.

Thelma and Louise this isn't. This original HBO film, Earthly Possessions, based on the Anne Tyler novel, is a sentimental road movie that requires more than a little suspension of disbelief (that they're able to escape in the first place is a miracle). Yet Sarandon, even in the most disappointing of roles, is a phenomenal actress who will make us believe just about anything. And so she does here; even with the trademark two-dimensionality of Tyler's characters, Charlotte Emory is a woman you can't help but care about. Dorff, with his rough-and-tumble good looks, is fairly believable as the irresponsible hooligan, and despite the unlikelihood of a relationship developing between these two, you are sucked into the romance right with them. Throw in a couple of car chases and a pregnant girlfriend, and you've got an entertaining, lighthearted film. While the ending is a little disappointing, fans of Tyler's novels and her other books on film (Saint Maybe and Breathing Lessons) will surely be swept away. --Jenny Brown

Into the Woods

Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.

Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.

Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.

The DVD version is comparatively no-frills, given its American Playhouse origins, but multiformat digital audio renders the musical performances in immaculate detail. --Sam Sutherland

Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.

Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.

Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.

The DVD version is comparatively no-frills, given its American Playhouse origins, but multiformat digital audio renders the musical performances in immaculate detail. --Sam Sutherland

Into the Woods [Region 2]

Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.

Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.

Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.

The DVD version is comparatively no-frills, given its American Playhouse origins, but multiformat digital audio renders the musical performances in immaculate detail. --Sam Sutherland

Fractured fairy tales of a darker hue provide the remarkable context for Into the Woods, which deconstructs the Brothers Grimm by way of Rod Serling. While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists.

Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.

Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts. This video production by the original Broadway cast gets its marquee shimmer from Bernadette Peters's wonderful witch, but the standout (and Tony winner as Best Actress) is Joanna Gleason, who gives the Baker's Wife a mixture of warmth, pragmatism, and sudden, poignantly romantic radiance.

The DVD version is comparatively no-frills, given its American Playhouse origins, but multiformat digital audio renders the musical performances in immaculate detail. --Sam Sutherland