Word: giantess
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...would be an understatement to call “Into the Woods” a technically complicated play. Despite being interrupted with a few sound-system hiccups, this production’s technical realization of the show is subtle, but deliberate and creative. From the booming voice of the giantess to the smoke that appears alongside the spells of the Witch, the production effectively establishes the magical world of the woods without distracting from the vocal work and acting of the remarkable cast...
...lives out Aisling's life after her, are doomed to act out roles they have no control over. Martin's characters are fully and enticingly written, emerging from the text like the heroes of an epic poem. Culminating in Aisling herself, who even in childhood seems to be a giantess, the figures spring hyper-real from this surreal journey narrative...
When it comes to backbiting and ridicule, the pair easily keep pace with their literary friends. McCarthy finds Charles Reich (The Greening of America) "smarmily loving" and feminist Germaine Greer "an absurd Australian giantess." Not to be outdone, Arendt declares Margaret Mead "a monster" and Vladimir Nabokov "an intelligent show-off." Her 1957 take on Norman Podhoretz, critic, editor and later author of the confessional memoir Making It: "one of these bright youngsters with bright hopes for a nice career." Only three years later, it is "little Podhoretz, already soooo 'tired' like the proverbial Jewish waiter...
...enchants. To Marcello in La Dolce Vita, woman is "mother, sister, daughter, lover, angel, home." How small and sad and funny men are in comparison! At one end of the spectrum they are like the midget bluenose in Boccaccio 70 (1962) overwhelmed by Anita Ekberg as a sexual giantess -- it's the attack of the 50-ft. libido. At the other end they are like Guido in 8 1/2 cracking the whip in a vain attempt to tame his harem menagerie...
...characters -- and spectators -- into a world where every action has its moral consequences. The royal family proves unheroic and useless in a crisis. Neighborliness among the peasants turns to mistrust in a brilliant song of mutual finger pointing, Your Fault. Several characters die brutally in the grasp of the giantess or at the hands of panicky fellow citizens. Yet what comes out of this chaos is not the jollity of happy endings but a deeper reassurance, born of tolerance and community and shared sacrifice, articulated in the haunting ballad No One Is Alone -- a song as tuneful and touching...