Honestly, if you grew up watching the 2014 Disney adaptation of Into the Woods, you’ve only seen the tip of the iceberg. Maybe you saw a high school production where the Giant was a voiceover and the costumes were rented from a Spirit Halloween. That's fine. But it isn't the real thing. The into the woods musical 1987 original Broadway production is a different beast entirely. It’s darker. It’s weirder. It’s funnier in a way that feels like a punch to the gut.
When Stephen Sondheim and James Lapine teamed up to mash together the Brothers Grimm, they weren't trying to make a kid's show. They were trying to dissect what happens after "happily ever after." And in 1987, at the Martin Beck Theatre, they captured lightning in a bottle. Bernadette Peters was at the height of her powers as the Witch. Joanna Gleason was winning Tonys for being the most relatable woman in theatrical history. It was a moment. If you haven't seen the filmed version of that specific 1987 run, you’re missing the actual soul of the show.
Why the Into the Woods Musical 1987 Version Hits Different
There’s a rawness to the 1987 production that modern film CGI just can’t replicate. You have to remember the context of the late 80s. Broadway was being dominated by "megamusicals" like The Phantom of the Opera and Les Misérables. Big sets. Huge orchestras. Heavy melodrama. Sondheim went the other way. He went into the psychological woods.
The into the woods musical 1987 isn't just about fairy tales; it’s a metaphor for the AIDS crisis, for the breakdown of the nuclear family, and for the messy reality of parenting. When the Giant’s wife starts stepping on people in Act II, it isn't just a plot point. It feels like the world is actually ending. The minimalism of the set—those spindly, abstract trees designed by Tony Straiges—did more to create a sense of dread than a $100 million movie budget ever could.
The pacing is also wild. Act I is basically a perfect little comedy. It’s zippy. It’s "First Midnight" and "Agony." Then Act II hits you like a freight train. Most people don't realize that in the original 1987 staging, the Narrator (Tom Aldredge) is actually murdered by the characters. They literally kill the guy telling the story because they don't like the ending he's writing. It’s meta-commentary before that was even a cool thing to do.
The Casting Was Actually Perfect
Bernadette Peters. That’s it. That’s the tweet.
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Okay, but seriously, Peters brought a vulnerability to the Witch that most subsequent performers miss. Most people play the Witch as a villain. Peters played her as a mother who was terrified of losing her daughter. When she sings "Stay with Me," it’s not a command; it’s a plea. And then there’s Chip Zien and Joanna Gleason as the Baker and his Wife. They had this bickering, lived-in chemistry that made you care more about them than the actual princes.
Speaking of princes, Robert Westenberg and Chuck Wagner were doing high-camp comedy as the two Princes. Their "Agony" remains the definitive version. They were satirizing toxic masculinity decades before it became a standard talking point. They were tall, handsome, and completely useless. It worked because the staging was so deliberate.
The Sondheim Score: A Masterclass in Complexity
Sondheim is famous for being difficult to sing. The into the woods musical 1987 score is a rhythmic nightmare for actors but a dream for listeners. "Your Fault" is basically a rap battle. "The Last Midnight" is a vocal marathon.
The genius of the 1987 orchestration by Jonathan Tunick is how sparse it is compared to modern revivals. It sounds sharp. It sounds like the woods are poking at you. If you listen to the original cast recording, pay attention to the woodwinds. They mimic the birds, the snapping twigs, and the internal anxiety of the characters.
The lyrics are where the real meat is. Sondheim wrote: "Nice is different than good." That one line defines the entire show. Little Red Riding Hood (played by Danielle Ferland, who was actually a teenager at the time) learns that being "nice" is just a social mask. Being "good" requires sacrifice.
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- The show opened on November 5, 1987.
- It ran for 764 performances.
- It famously lost the Tony for Best Musical to Phantom, but won for Best Score and Best Book.
That's a bit of a sore spot for theater nerds. Phantom is a spectacle, sure. But Into the Woods has brains.
Misconceptions About the 1987 Production
A lot of people think the filmed version (released in 1991) is just a "TV movie." It’s not. It’s a multi-camera capture of the actual Broadway cast performing the show live. You can hear the audience laughing. You can see the sweat on the actors' faces.
People also forget how political the show was. In 1987, "No One Is Alone" wasn't just a pretty lullaby. It was a song of solidarity for people who had lost their entire communities to the plague. When the Witch screams "I’m not good, I’m not nice, I’m just right," she’s calling out the hypocrisy of a society that follows rules but lacks empathy.
The Practical Legacy of the Original Run
If you want to understand musical theater, you have to study the into the woods musical 1987 staging. It taught directors how to use a revolving stage without it being a gimmick. It taught actors how to handle Sondheim's "patter" songs without losing the emotional beat.
Wait, did you know that the role of the Baker was almost played by F. Murray Abraham? Or that the show underwent massive changes during its San Diego tryout at the Old Globe? The 1987 version we see on video is the result of months of Sondheim cutting songs and Lapine refining the book. Originally, the second act was even darker.
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If you are a student of drama or just someone who likes a good story, there are specific things you should look for when re-watching the 1987 filmed version:
- Watch the Baker's Wife's face during "Moments in the Woods." Gleason’s transitions from guilt to excitement to pragmatism are a masterclass.
- Listen for the "Bean Theme." It’s a five-note motif that appears every time the magic beans are mentioned. It’s the connective tissue of the whole score.
- Observe the lighting. The way the stage transitions from the bright "Once Upon a Time" vibe of Act I to the murky, gray shadows of Act II is subtle but brilliant.
Taking Action: How to Experience the Real 1987 Version
Don't just take my word for it. Go find the footage.
Start by watching the filmed Broadway production. It’s available on various streaming platforms and DVD. Don't start with the soundtrack; you need the visuals to understand the physical comedy and the timing.
Next, read the libretto. James Lapine’s book is just as important as Sondheim’s music. Look at how the dialogue blends seamlessly into the songs. It’s often hard to tell where the speaking ends and the singing begins.
Finally, compare it. Watch ten minutes of the 1987 version, then ten minutes of the movie. You’ll immediately see why theater fans are so obsessed with the original. The stage version trusts the audience to use their imagination. It doesn't need a CGI beanstalk when you have the lighting and the music telling you exactly how high it grows.
Analyze the lyrics of "Children Will Listen." It’s the most important takeaway from the show. It’s not a warning to kids; it’s a warning to parents. Everything you do, everything you say, and the "tales you tell" shape the next generation. That was the core message in 1987, and honestly, it’s even more relevant now.
Go watch it. Pay attention to the silence between the notes. That’s where the real magic is.