Into The Woods

The story is about a Baker and his Wife, who cannot have children. They discover the Witch had cursed their family line after the Baker’s father stole some of the Witch’s vegetables. To lift the spell, they must find a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. As they journey into the woods, they meet many other characters on their own quests. They learn the consequences of their desires and the complexities of life beyond their fairy tale endings and how getting what you want is not always a happily ever after.

It is a complex plot, but the musical numbers are beautiful, haunting, and exciting, demonstrating Sondheim’s expertise as a master composer, lyricist, and show creator. Lapine’s skills in interweaving the different fairy tales provide a layered plot that, combined with the music, carries the audience along their own journey of discovery.

Every cast member performed well, despite some illnesses among the cast. Kirsty Nisbet was thrilling as the Witch, particularly her vocals in the second act, Last Midnight. Kristen Ryan sang beautifully as Cinderella. Ben Taylor demonstrated great comic timing as the Wolf and the Prince. He and Nicolas Sheridan bounded across the stage, clearly relishing their ridiculous prince roles. Sarah Tchantcho, as the Baker’s wife, had a lovely understanding of her role, acting and singing well with Mike Armada as the Baker. Each Into the Woods uses different methods of bringing the cow to the stage. Chloe Neale moved a puppet, Milky White, around the stage convincingly.

Director Scott J Hili presents Into the Woods “through the lens of Victorian Gothic Steampunk.” Scott says, “Within the heart of Into the Woods lies an invitation to rediscover the wonder of childhood dreams, confront our deepest fears, and ponder the intricacies of our connections with others.”