Additionally, the sound mix was a tad uneven; the orchestra occasionally drowned out the quieter voices in “On the Steps of the Palace.”
This production proves that you are never too young to grapple with big ideas—or big notes.
Despite those minor stumbles, Into the Woods JR is a triumphant success. It is rare to hear young voices tackle Sondheim’s dissonant intervals and rhythmic complexity without sounding shrill, but this cast did so with professionalism and heart. Parents will love the nostalgia, but more importantly, the young actors on stage clearly understood the moral: Careful the things you say… children will listen. into the woods script jr
The set design cleverly used simple, movable trees and a gauzy scrim to create the feeling of a deep, dark forest. The lighting designer deserves a bow for creating sudden “giant” shadows and magical “cow as white as milk” moments on a budget. The costumes popped—Cinderella’s gold dress sparkled, and the Wolf (played with a swaggering glee by ) was suitably sleek and menacing.
The standout performance of the evening came from as the Witch . Commanding the stage with a booming (and shockingly clear) voice, they transformed from a grotesque, rapping antagonist into a glamorous, wounded mother figure with astonishing ease. Their rendition of “Last Midnight” was a showstopper—equal parts terrifying and thrilling. Additionally, the sound mix was a tad uneven;
Approximately 75 minutes (no intermission, which is perfect for younger siblings).
Ages 6 and up (though the second act’s death scenes may be intense for very sensitive little ones). Parents will love the nostalgia, but more importantly,
The comedic heartbeat of the show was the duo of the and the Baker’s Wife ([Actor’s Name]) . Their chemistry was wonderful, and they navigated Sondheim’s rapid-fire patter songs (“Maybe They’re Magic”) with clarity and charm. Special mention goes to [Actor’s Name] as Little Red Riding Hood —feisty, funny, and sporting a wolf-coat that got one of the biggest laughs of the night.