“I wish…” is how it all begins and, as every fairy tale fan knows, that’s precisely where things start to go wrong. In Into the Woods, the deceptively simple wishes of beloved storybook characters lead them into a tangled forest of choices, consequences, and unexpected truths. The Stage Door’s production of James Lapine and Stephen Sondheim’s iconic musical dives headfirst into this darkly whimsical world with creativity, humor, and an emotional punch that lingers long after the curtain call.
At its core, Into the Woods is about the cost of getting what you want. The characters— long-suffering Cinderella (Mattea Denney), innocent Jack (Jackson Betts), naive Little Red Riding Hood (Amanda Butler), and a childless Baker (Eric Humphries) and his Wife (Ashlie Davenport)—begin their journeys with clear, heartfelt wishes. But as the musical unfolds, the fantasy endings we expect take sharp, unexpected turns. “Wishes come true, not free,” the show warns, and the consequences of each character’s desires are felt deeply in Act II. This thoughtful twist on classic tales examines responsibility, loss, and the power of community with the kind of layered storytelling that Sondheim mastered.
Charlie Tuttle opens the show as a glittering and alluring sequinned Narrator—sashaying through the audience and breaking the fourth wall with style. This choice suits the meta-theatrical nature of the musical and sets a playful, self-aware tone that carries through the production. This is a fast-paced and layered production. A lot is happening at the same time, including overlapping songs and storylines. The cast is up to the task and maneuvers seamlessly through the interwoven score. The pacing never lags. Don’t blink or you might miss a clever visual gag, a subtle motif in the music, or a sly lyrical callback. The vocal performances are strong across the board, and the actors strike a compelling balance between fairy tale caricature and emotional realism.
One of the standout features of this production is its brilliant set design, created by scenic designer Joshua Scott and set engineer Daniel Thompson. The towering forest pieces, in constant motion, create a dynamic, ever-shifting landscape that mirrors the characters’ disorientation and moral confusion. This isn’t a static backdrop; it’s a living, breathing part of the story. The choice to have cast members—particularly a group of mischievous woodland nymphs and sprites (Catherine West, Gwen Scott, Jessie Osness, and Genaro Rodriguez)—move the trees throughout the show is inspired. These figures also help “wrangle” Jack’s white cow (created by Jalee Scott and Gwen Scott). I love touches like this that make the show feel personalized and unique from other versions.
Mimi Knell delivers a commanding performance as the Witch, transforming—literally and figuratively—before our eyes. Her physicality, dramatic entrances, and spine-tingling cackles are highlights of the show, matched only by her impressive costume effects (watch those magical hands!). Without giving too much away, Knell’s shift between acts is visually striking and emotionally resonant, adding depth to a character who begins as a villain and ends as something far more complicated.
Amanda Butler’s Little Red is sweetly authentic, albeit offering biting honesty with the bluntness of youth. Her comedic timing brings frequent laughs, especially opposite Joshua Scott’s Wolf, whose scenes are among the most creative and visually surprising in the show. The Wolf’s costume, including an articulated jaw for delivering lines, was designed and created by director Sterling Hanks. Both sinister and stylish, the costume is just one example of Hanks’ inventive direction and design contributions, along with costumers Tawny Betts, Lelah Scott, and Tanya Christensen. The choreography (Rosa Lee White) is especially telling when Little Red Riding Hood and the Wolf meet in the woods. Watch for strong messaging through movement throughout the show.
Eric Humphries brings sincerity and warmth to the role of the Baker. His vocal clarity and emotional vulnerability help the audience feel every difficult decision he makes. It’s painful but powerful to watch him wrestle with moral dilemmas and grow from them. The Baker’s Wife (Ashlie Davenport) likewise struggles with identity, knowing what she wants, and what she is willing to do to get it. Davenport’s rendition of “Moments in the Woods” is a full spectrum of emotion that illustrates the theme of moral ambiguity in the show.
The two princely brothers —one pursuing Cinderella, the other Rapunzel—played by Tim Merkley and Kyle Flowers, earn well-deserved laughs with their melodramatic duet “Agony” and its reprise. Their over-the-top performances, combined with sword-waving contests and synchronized suffering, are some of the show’s comedic high points.
Musically, the production shines. Sondheim’s complex score, rich in recurring motifs, is handled with precision and care. From the playful bean motif to the haunting echoes of past melodies, music director Amy Gleave and audio engineer Chops Downward smartly amplify these patterns, deepening the show’s emotional resonance. Pay attention to those moments; they are part of what makes the musical feel so cohesive and complete.
Ultimately, The Stage Door’s Into the Woods is a thrilling ride through familiar stories made fresh and emotionally potent. It’s visually imaginative, musically rich, and full of surprises. Whether you’re a longtime Sondheim fan or venturing into the woods for the first time, this production will make you laugh, think, and maybe even cry.
Just don’t forget—wishes come true, not free.
The Stage Door presents Into the Woods, book by James Lapine, music and lyrics by Stephen Sondheim
The Electric Theater, 68 E Tabernacle St, St. George, UT 84770
June 19 – July 12, Thursday-Saturday at 7:30 pm, July 5th at 2 PM
Contact: 435-656-4407
Tickets: $15-24
I attended opening night. Really well-presented version of Into The Woods. Everyone does a great job. All the players excel in singing and preformance. Well worth seeing.