The Towering Return of Idina Menzel
The Tony winner is back on Broadway in Redwood, and she’s once again flying.
There is something poetically fortuitous about Idina Menzel returning to Broadway in a musical called Redwood. While she may only stand at 5’6”, her presence is colossal. Perhaps it’s her iconic career (Rent, Wicked, If/Then, Frozen) that elevates her in a room. Or perhaps it’s her unmistakable voice: resonant, soaring, and layered with emotion. And after nearly a decade away from Broadway, she’s bringing that voice and undeniable stage presence back to the stage in Redwood, a musical she co-created with longtime collaborator Tina Landau and composer Kate Diaz. Opening this month on February 13 at the Nederlander Theatre, for Menzel, Redwood is more than a return—it’s a homecoming.
The show follows Jesse, a woman whose life is altered after an earth-shattering event—who then chooses to escape into the unknown. When she finds herself at the foot of the Northern California redwoods, Jesse takes a chance and starts climbing. Much like her character in the show, Menzel describes her first encounter with the majestic giants years ago as almost spiritual. In the spring of 2024, during the show’s own-of-town run at La Jolla Playhouse in California, Menzel was given the rare opportunity to climb a redwood and into its canopy.
“That was an extraordinary experience for me,” she says, from her dressing room at the Nederlander (the same dressing room she used 29 years ago in Rent). “Getting to feel a real connection to the world in a very different way. It felt like being in a sanctuary. There’s a unique silence there and you feel like a pea. You feel so small but in the best way. It’s humbling and freeing.”
Menzel explains that at the heart of Redwood is the redwood tree itself, which she sees as a metaphor for resilience, community, and growth. “Redwoods thrive because of their root systems,” she explains. “They interconnect and hold each other up. Even after fires, they regenerate. Their cones release seeds only when exposed to heat. It’s a beautiful symbol of how we can turn loss and hardship into strength.”
Strength will also be explored for Menzel as she is once again bringing a gravity-defying element to Broadway. Partnering with Bandaloop, a pioneering aerial dance company, Menzel will again perform hundreds of feet in the air while suspended on climbing harness. Her stage partner is a gigantic recreation of a redwood trunk that the production has named Stella. Though she’s no stranger to challenging roles that require flying (she did originate Elphaba in Wicked after all), this experience is entirely new.
“I’ve never really been afraid of heights, but there’s a difference between thinking that and dangling 300 feet in the air,” Menzel laughs. Her training began with the basics. “You start with the harness, learning safety checks and how to feel comfortable,” Menzel explains. “Then it’s climbing—getting a feel for the wall or, in our case, the tree. From there, you learn to swing, bounce, and essentially dance in midair. It’s incredibly liberating, like returning to your childhood.” The sense of childlike wonder permeates the production. Menzel describes the dancing as a blend of physicality and playfulness. “It’s like being a kid climbing a tree again, but with more grace—and a harness,” she laughs.
The process has been grueling but rewarding, she says. “It’s all about your core and your obliques,” she notes. “The team is so protective of our bodies. They make sure we stretch, stay hydrated, and listen to ourselves.”
The collaboration with Bandaloop has been particularly meaningful. Though her first experience with the troupe involved a surprise scaling off a three-story building for her first dance rehearsal, Menzel now counts them among her closest collaborators. “They’re extraordinary human beings. They made me feel safe and confident, and that trust is essential for what we’re doing on stage.”
Redwood also represents a chance for Menzel to stretch her artistic wings in new ways—this is her first time co-writing a musical. Menzel was first inspired to create Redwood 15 years ago, when she first heard a story about a climber, Julia Butterfly Hill, who lived in a redwood tree for 738 days. She then called Landau. The project languished until the pandemic shutdown, when the two found a composer. The decision to work with Kate Diaz, a composer new to Broadway, was intentional.
“We wanted someone fresh, someone who wouldn’t follow the traditional formulas,” Menzel explains. “Kate has this incredible ability to write catchy, melodic songs while also scoring for the cinematic scope of the redwoods. She’s brought a unique energy to the project.”
The music is expansive yet intimate—mirroring the ethos of the show. The work with Diaz has made Menzel reflect on her start in Rent, working with late composer Jonathan Larson back when he was an unknown. “It’s always been about new work for me. I’ve been so lucky to have roles where the writers cater to my voice and my essence. I wanted to pay that forward with this show, with a new composer.”
Menzel’s Broadway return carries weight beyond the performance itself. Her career has inspired countless young performers, many of whom grew up listening to her as Elphaba in Wicked, Maureen in Rent, or Elsa in Frozen. “I’m incredibly touched by that,” she says, visibly emotional. “It’s humbling to know my work resonates across generations. But I always tell people—and remind myself—to strive for authenticity. Be yourself. That’s what makes you stand out.”
Menzel’s embrace of vulnerability and imperfection, and how she’s been able to find strength in those moments—that is no doubt a key reason why she remains a beloved performer among Broadway fans. “When you’re authentic, it endears you to people,” she explains. “It creates a reciprocal relationship with the audience. That’s where the magic happens.” That magic—and the soft, quiet, spiritual healing energy of giant redwoods—is what Menzel, a towering giant of Broadway, will surely bring to the Nederlander this season.