Interludes

THE HANGOVER REPORT – Idina Menzel dares to scale emotional and physical heights in the unsettled new musical REDWOOD

• By drediman
• February 14, 2025
• No Comments

One of the more anticipated events of the current Broadway season is the return to the Great White Way of Idina Menzel in the new musical Redwood, which opened last night at the Nederlander Theatre (the same theater in which the Tony-winner made her auspicious Broadway debut in 1996 in the role of Maureen in the era-defining musical Rent). Co-conceived by Menzel and director Tina Landau, the emotionally turbulent musical tells the story of Jesse, a woman still mourning and reeling from — one year onward — the tragic death of her troubled son. In her quest for solace and some answers, the relentless and determined heroine eventually finds a way to process her grief and trauma through an immersion in nature, namely by “connecting” with a Redwood tree she nicknames “Stella” (!).

The musical is by no means perfect, but I applaud its creators’ efforts to bring a serious and completely new musical — not based on a film nor built around an existing songbook — to Broadway. Kate Diaz’s pop-rock score (with additional lyrics by Landau) is a mixed bag. In the best songs, however, there’s a driving excitement that’s thrillingly in sync with the emotional pulse of the show. The book by Laundau is also uneven, particularly when it starts getting tangled in some New Age business. Yes, there are occasional lulls and cringe-worthy moments, but ultimately Redwood is a fascinating and illuminating depiction of the unsettling depths of sadness and depression. One of the most successful aspects of the production is Landau’s fluid staging, most notably the stunning visual elements, the creation of scenic designer Jason Ardizzone-West and video projection designer Hana S. Kim. In concert with Jonathan Deans’ enveloping soundscapes and Scott Zielinski’s starkly contrasting lighting, the show’s overall design work makes Redwood one of the most strikingly immersive shows currently to be found on Broadway.

Now let’s talk about the leading lady. At this point in her career, Menzel admirably dares a lot by taking on Redwood. Not only is the role of Jesse a dramatically and vocally titanic undertaking — Menzel is required to be onstage essentially for the entirety of the show’s nearly two intermission-less hours, at times giddily dangling in midair — she also risks more than her fellow divas this season (e.g., Audra McDonald in Gypsy, Nicole Scherzinger in Sunset Boulevard) by choosing untested material as her vehicle back to Broadway. Although her voice occasionally gives in when pushed to its limits, her commitment to the role is nothing less than astonishing; it’s a sight to behold. Throughout, she keeps it disarmingly real — as do her co-stars, particularly Khaila Wilcoxon and Michael Park as the canopy arborists who begrudgingly facilitate her affair with Stella — delivering an honest performance that brings ample humanity to a stubborn and often frustrating character.

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REDWOOD
Broadway, Musical
Nederlander Theatre
1 hour, 50 minutes (without an intermission)
Open run