‘Into the Woods’: Sondheim’s masterwork told with Asian soul, Pinoy spirit

MANILA, Philippines — Before stepping into the theater, I already knew Theater Group Asia’s “Into the Woods” would have a distinct “Filipino-inspired” flavor. It’s part of their mission: to showcase the best of what Filipinos can offer to the global stage. And from the moment the curtains rose, that promise was fulfilled — and then some.

“Into the Woods” is Stephen Sondheim’s brilliant mashup of well-loved fairy tales — Cinderella, Little Red Riding Hood, Jack and the Beanstalk and Rapunzel — all tied together by an original story about a Baker and his Wife who desperately want a child. But no wish comes free, and as the characters journey through the woods to chase their dreams, they discover that actions have consequences, and “happily ever after” isn’t always what it seems.

With a book by James Lapine, whose thoughtful and emotionally layered storytelling complements Sondheim’s intricate music, the show resonates on many levels — whether you’re a wide-eyed child or a grown adult grappling with life’s complexities. His words — witty, poignant and honest — remind us that fairy tales are more than stories; they’re mirrors held up to life.

Lea Salonga as The Witch with real-life couple Nyoy and Mikkie Bradshaw-Volante as The Baker and The Baker’s Wife.

The first surprise came instantly, thanks to Ohm David’s stunning set design. The stage was framed with capiz window panels, evoking a traditional Filipino courtyard. Trees stood on either side like silent witnesses to the unfolding fairytale — a familiar space made magical.

Then, a mysterious man steps into the spotlight: Rody Vera as the narrator. The moment he speaks, you realize this is a Filipino storyteller. His accent, presence and delivery are deliberate and grounded. Vera brought clarity, strength and intention to a role that threads the entire narrative.

Arielle Jacobs as Cinderella was perfectly cast. Her crystal-clear soprano and regal demeanor never wavered throughout the show. She was Cinderella through and through — elegant, sincere and vocally pristine.

Arielle Jacobs as Cinderella.

Then came Eugene Domingo. Her entrance alone received spontaneous applause, and rightfully so. The audience was on her side from the get-go. As Jack’s mother, she delivered an electrifying performance, a powerful combination of humor and heart. She was a force — funny, fierce and unforgettable.

Nic Chien, tackling his first Sondheim musical, was a delightful revelation as Jack. There was confidence in his performance and moments that mirrored his real mom’s nuances, making it even more joyful to watch.

Filipina Broadway and West End icon Lea Salonga makes her entrance as The Witch in Theater Group Asia’s ‘Into the Woods’ at the Samsung Performing Arts Theater in Circuit Makati.

Teetin Villanueva as Little Red Riding Hood brought a dark, comedic edge to the role. Her timing was sharp, her delivery strong. She’s one of those performers you can’t help but watch.

Scene stealers of the night? Hands down: Mark Bautista and Josh dela Cruz as the charming, campy princes. Their exaggerated movements, synchronized flair and comedic timing drew loud laughs and well-deserved applause. Josh, who also played the seductive Wolf, was a standout. His physicality, voice and costume added a touch of danger and allure.

Cinderella’s stepfamily, played by Tex de Leon (stepmother), Kakki Teodoro (Lucinda), and Sarah Facuri (Florinda), was a trio of theatrical stooges. They brought wit and spice, adding a delightful balance to Cinderella’s world.

Real-life couple Nyoy and Mikki Volante as the Baker and his Wife had natural chemistry. You couldn’t help but wonder: have they had the same kind of loving spats at home? Their dynamic felt real, raw and touching.

Joreen Bautista lent her lovely soprano to the role of Rapunzel. In her more anguished moments, especially in this Filipiniana setting, she gave off a  “Sisa” vibe that made her pain more relatable and more ours.

Carla Guevara Laforteza, as the Giant and Little Red’s Grandmother, brought seasoned versatility and clarity to every scene, while Jamie Wilson, as Cinderella’s Father/Steward, delivered the kind of polished, dependable performance we’ve come to expect — always in control, always in sync.

And then, there was Lea Salonga.

What sets Lea apart is her years of experience, and the fact that she has sung selections from the Witch’s role in concerts. She knows Sondheim — having also played Mrs. Lovett, deliciously in “Sweeney Todd.” Which is no small feat, given how his music and lyrics demand nothing short of brilliance. His cues, tempo changes and precise rhythmic timing — they’re a minefield of genius. Yet Lea as the Witch seemed to float through it all effortlessly. Her presence alone — magnetic, masterful — was worth the price of admission.

Hats off to Gerard Salonga and his 19-piece orchestra for tackling one of musical theater’s most complex scores. The music was alive, intricate, supportive in every beat.

And finally, brava to director Chari Arespacochaga. Her vision, passion and deep understanding of the material turned the ambitious project into a triumph. It’s no easy task to reinterpret a beloved Broadway classic through a Filipino lens, but she did so with utmost care, and respect. One can imagine Atlantis founder Bobby Garcia beaming with pride, knowing the torch is in such capable hands.

Raven Ong’s costume designs, (guided by its overall artistic and creative director, Clint Ramos), with additional costumes by Rajo Laurel, also deserve special mention. From butterfly sleeves on ballgowns to baybayin-printed fabrics and Ifugao-inspired weaves blended into princely garb, every piece on stage like the use of a balisong instead of a knife, supported the narrative’s new context — proof that even in a fantasy world, our culture can shine bright.

I’ve seen the original production set in a European forest, but this time, with an Asian soul and Filipino spirit, “Into the Woods” became something else entirely: closer to home.

Though still a bit rough, on a few edges, with its technical — understandable with its first real audience — this production is something I would gladly see again. It’s worth the ticket for its bold vision, its heartfelt message and the sheer talent onstage. Because in the end, this version of “Into the Woods” reminds us that even our own forests — dark, uncertain, but deeply familiar — can still lead us to the truth.

‘Into the Woods’ is Stephen Sondheim’s brilliant mashup of well-loved fairy tales — ‘Cinderella,’ ‘Little Red Riding Hood,’ ‘Jack and the Beanstalk’ and ‘Rapunzel’ — all tied together by an original story about a Baker and his Wife who desperately want a child. But this staging has an Asian soul and Filipino spirit, and it became something else entirely: closer to home. This version of ‘Into the Woods’ reminds us that even our own forests

— dark, uncertain, but deeply familiar

— can still lead us to the truth.