Ava Seymour, Contributing Photographer

Once upon a time, in a theater not so far away, a talented band of actors and vocalists took on the beast that is Stephen Sondheim’s “Into the Woods.” What resulted was a touching and unique rendition of the musical theater staple. 

Running from Nov. 13 to 16, the Dramat’s mainstage drew large, enthusiastic audiences of friends and family alike. Nearly every seat of the University Theater was filled with eager patrons.

Using the backdrop of classic fairy tales, “Into the Woods”  takes a darker, more complex look at happily ever after. The first act follows the traditional trajectory of stories such as Cinderella, Little Red Riding Hood and Jack and the Beanstalk.  

At the center of the story is a baker and his wife, who must find four distinct items to break the witch’s curse and bear a child. Their paths cross with those of Cinderella and other fairy tale characters. At the close of Act One, everyone seems to have gotten exactly what they wanted. 

But what comes after Happily Ever After is anything but happy. 

Act Two is the culmination of the show’s true themes. Having secured their happy endings, the main characters realize that their actions have consequences, relationships waver and villainy is not so black-and-white. These lessons are what make Sondheim’s show so poignant. 

Conveying the lyrical and musical beauty of the beloved musical is a daunting task for anyone taking on the show. 

When casting the original production, Stephen Sondheim found talented, multifaceted actors who delivered phenomenal performances both in their acting and singing. Yale’s version of the musical mirrored Sondheim’s casting success.

A powerhouse of talent, notable performances were given by the two fairytale brothers and princes, Eason Rytter ’27 and Jaden Nicita ’28, as well as Abram Knott’s ’27 performance as The Baker and Lauren Marut ’25 as The Baker’s Wife. 

While most facets of the show remained true to the original, director Ryan Dobrin wanted to take the show in new directions. Stripping the stage down to its bare bones, the production team created an unconventional set consisting of a forest of clothing racks and a scaffold stair tower. 

Audience members who expected to see the familiar storybook landscapes were met with a theater seemingly in the middle of a strike –– a theater term for the process of removing a show at the conclusion of its run. 

For those familiar with theater concepts and Dobrin’s particular vision, the set design was merely a stylistic choice. But it might have been jarring for those viewing the show for the first time, who were told that the scaffolding doubles as a tower and a tree. 

Dorbin’s plan was to put a playful spin on a familiar classic. He wanted to dial back the fantastical nature and focus more on the characters. 

This new design still reminisced Sondheim’s charm and wit, creating space for comedic moments to underscore the sometimes heavy themes. 

Familiar props were swapped with distinct replacements: a Target bag for Little Red Riding Hood’s basket and a carpenter’s square for Jack’s golden harp. Instead of prop birds, actors donned oven mitts to simulate the flapping of wings. Whenever anyone was traveling through the forest, they stoically galloped, borderline absurdly, a fun touch that audiences found quite amusing. 

Costuming also deviated from traditional interpretations. The Baker and The Baker’s Wife retained their usual garb, but, to the amusement of audiences, the fairytale princes traded their regal wear for Yale and Harvard sweaters. 

These modern takes on costume design were amusing at best and confusing at worst. Some of the more prominent costumes had trouble translating their characters to the audience. The characters that were supposed to be “haggish” were played down so much so that they lost that crucial element to their characters.

Sonically, the show blew audiences away. 

The pit orchestra ran under the masterful guidance of Nicole Lam ’25 and worked harmoniously with some of Yale College’s best vocalists.

As Cinderella, Abigail Yadegar ’25 dazzled audiences with her beautiful soprano voice, making us feel as if we were truly “on the steps of the palace.” As she soared through her range, it was easy to understand why she was cast as a princess. Benjamin Jimenez’s ’26 performance of “Giants in the Sky” made us look up to make sure they weren’t really there. His distinct timbre had the perfect blend of childlike whimsy and maturity, fitting for Jack’s character growth throughout the play. 

At the conclusion of Wednesday’s performance, the audience erupted into an immediate, much-deserved standing ovation. For many, this was not their first “Into the Woods” viewing, but it was surely a version they wouldn’t soon forget. 

For many theater troupes, Steven Sondheim’s “Into the Woods” is a final boss for their actors, a grandiose example of the highs musical theater can reach. The Dramat’s production reminds us to take things as they are, because the “trees are just wood” or in this case, clothing racks.