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I second the reference to the kneaded eraser. Also, use a sandpaper block to taper your charcoal to a point. Both that point, and the kneaded eraser also rolled down to a point, are useful in getting a more uniform tone and quality laid down on the tooth of the paper.
I'd begin by taking the eraser, fashioning it into a point, and carefully lifting out (dabbing at, not rubbing) the darkest darks in those shadow areas. After just a few dabs (or even one or two), roll another point to continue -- otherwise you'll just be smearing the old charcoal around. Then use the point of the charcoal to fill in between the areas in which the tooth has grabbed the charcoal. Dab and fill, push and pull, to even out your tone and the gradations between value areas, working in small areas with patience, mindful of how each small area fits into the overall value design. It sounds tedious but it provides great control, it comes together quickly and the results are very satisfying, especially on a subject such as this one, where delicate and subtle effects are in order.
Oil from your fingers is always a problem. Wash hands often and try to resist blending with your fingertips. This, admittedly, is advice I am incapable of following sometimes -- but I try to reserve that blending fingertip stroke to a final swoosh or effect, one that I've decided I will accept and not try to amend after I've done it, because laying down charcoal or graphite with the fingers is like adding a kind of fixative at the same time.
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