Dorothy Ha, Contributing Photographer

The Dramat’s production of Stephen Sondheim’s “Into the Woods” premieres this week. Combining fairy tales, humor and heart, the musical-theater staple has captivated audiences since its Broadway premiere in 1987. Performances run from Nov. 13 to 16, with tickets available online. 

The musical follows classic fairy tale characters as they journey through the woods, searching for ingredients that will break their curse. The show explores complex themes of relationships, consequences and what it means to be human. 

“I hope that the audience walks away thinking about their own decision making and community building,” says Ryan Dobrin, the director of “Into the Woods.” 

Dobrin is no stranger to directing. After graduating from Wesleyan University, he began directing independent productions and assisting directors with off-Broadway shows. Since then, he has served as visiting directors at Yale, University of Michigan and NYU Tisch’s Experimental Theatre Wing. 

“I connected with many directors [throughout my career], and I tried to balance learning new skills with applying those lessons to my projects,” he said. 

Fresh off another Sondheim production, “Merrily We Roll Along,” Dobrin was ready to tackle another Sondheim classic. This time, however, Dobrin wanted to add his own flair to the production. 

“I wanted our version to feel tailor-made for this theater and these students,” he said. 

To set this production apart from the myriad of other “Into the Woods” iterations, he worked closely with the design team to create a unique and daring version. Dobrin takes a meta approach to the story, envisioning a scenario in which the cast is performing an impromptu “Into the Woods” while striking – a process of deconstructing the set of the previous production. 

“What if this group of 18 actors decided to put on the show in a theater amid a strike, using only what’s lying around?” said Dobrin. 

Using costume racks and other common backstage items, they aimed to create a production that relied more on characters rather than elaborate sets. 

Though the show is nearing 40 years old, Dobrin believes it is as poignant as ever. Using fairy tale characters invokes a universality that “reminds us to see others’ perspectives,” he said. Dobrin hopes that this will resonate with audiences in an increasingly divided world. 

Joining the production team is musical director Nicole Lam ’25. Her 16th show at Yale, “Into the Woods” is unlike any other she’s done before. She said that this was the first show where she “really dug into the lyrics.” 

Lam finds analyzing Sondheim’s lyrics alongside the score akin to a class. According to her, finding the deeper meanings in a sea of motifs and one-liners is just as rewarding as it is arduous. 

“There’s just so much gold in there that can be extracted, so that’s been incredibly fulfilling,” Lam said.

Besides leading music rehearsals and directing the pit orchestra, Lam is also tasked with being the “musical advocate.” She worked closely with Dobrin to ensure that nothing is lost when translating the score to the stage. 

Lam has loved interpreting Sondheim’s score and injecting her own vision into it. 

“It’s gonna be a fantastic show,” said Lam. “We have a really good team.”

Megan Ruoro ’25 stars as the Witch, the musical’s antagonist. Ruoro said she is excited to play who she dubs a “misunderstood” figure who embodies the complications that come with expressing love. 

Ruoro auditioned for the play on a whim. In this dynamic, “actor-driven” production, Ruoro found that  reimagining a classic role played by Broadway legends such as Bernadette Peters and Meryl Streep has been more than fulfilling.

“Into the Woods is one of my favorite musicals,” Ruoro said. “I was very excited at the chance to audition for it, and I think what drew me to the project is the musical itself, how rich it is. It’s really an actor’s dream to play any of these roles.”

Ruoro says that compared to professional productions of the show, the Yale Dramat’s interpretation is “more stripped down.” In the place of large set pieces, the production instead showcases the raw talent of the students who bring the story to life. 

With this production marking Ruoro’s last show at Yale, she said she can’t wait for the energy and sounds from the live audience on opening night. Her favorite song from the show is “No One is Alone” due to its hopeful message, and its relevance today, post-election, she said. She hopes audience members leave the show feeling inspired to capture the beauty in seemingly trivial moments and seek community in unconventional ways. 

Ruoro herself has found community in the musical’s cast of “beautiful spirits.” According to Ruoro, the cast’s instant and enduring chemistry has been vital to the success of the show.

“I’m so thankful that I have gotten to be a part of this as my last show at Yale,” Ruoro said. “Although quite literally in the show we repeat the line ‘no one is alone’ a lot, even outside the musical, just the community that we built as a cast has given me so much comfort, and I hope that reflects on stage.”

Sondheim’s classic musical promises a good time for both die-hard and casual theater-goers. Beneath the layers of humor and wit, however, audiences will discover that “anything can happen in the woods.” 

The original production of “Into the Woods” was nominated for 10 Tonys at the 1988 award show, winning three.