Every once upon a time ends with a happily ever after—but what if that isn’t where the story closes? Beyond the beloved fairytales lies the messy and deeply human reality of choices and consequences, where wishes come with a cost and the path forward is anything but certain.
Theatre Group Asia captured this wonder and wisdom in its highly anticipated production of Into the Woods, a local reimagining of the Stephen Sondheim classic that brought it closer to home. Staged at the Samsung Performing Arts Theater in Circuit Makati from August 7 to August 31, the stellar all-Filipino cast depicted and deepened adored characters like Cinderella, Jack, Little Red Riding Hood, Rapunzel, and the Baker. Each persona stepped beyond the confines of their storybook origins, colliding in a tale where their intertwining journeys unraveled the myth of happily ever afters.
All at once, the production was a celebration of its source material and a dazzling testament to the depth of Filipino artistry. At the heart of this brilliance was the powerhouse ensemble. Far beyond their individual performances, the chemistry that pulsed between the cast brought the woods to life with a sense of togetherness that entangled the stories into one shared journey.
While there were no weak links, certain portrayals stood out in the sea of characters. As the Witch, Lea Salonga was both terrifying and tender, her voice commanding the theater with raw power. Josh Dela Cruz, in contrast, dazzled in his dual role as he seamlessly shifted between the sly Wolf and the self-absorbed Prince. Mikkie Bradshaw-Volante’s heartfelt and hilarious portrayal of the Baker’s Wife brought humor and warmth to the production, while Arielle Jacob’s Cinderella shimmered with quiet strength, transforming a fairytale princess into a woman charting her own path. Lastly, Nick Chien’s endearing portrayal of Jack captured childlike innocence and the bittersweet reality of growing up too soon.
Music, light, and design transformed the stage into an immersive terrain where the woods felt as real as the lessons they harbored. Amplified by the orchestra’s hymn, the textured arrangements pulled the audience into a living soundscape alongside the characters. The lighting also highlighted the storytelling, with intimate spotlights isolating moments of vulnerability, and broad beams for moments of chaos or wonder. These elements worked in harmony with the show’s shifting tones of magical and existential, creating a captivating experience for all.
Beyond spellbinding performances, Into the Woods found its voice in the proud heritage of its Filipino production. From elaborate costumes to symbolic set designs, the show overflowed with nostalgic imagery. Although the source material draws from European origins, the production’s blend of folklore and Filipino culture crafted not just an enchanting visual experience but a collective celebration of local tradition.
Under the stage lights, every detail gleamed with cultural pride as the cast flaunted textiles from multiregional backgrounds. Little Red Riding Hood’s costume billowed fiercely with striking red Cordilleran weaves, her cape embellished with fine Baybayin embroidery spelling out the name of the show’s late theatrical producer, Bobby Garcia. The Baker and his wife donned Inabel fabric, a handwoven Ilocano textile embedded with intricate patterns, each strand threading echoes of resilience.
Cinderella’s iconic blue ball gown was fashioned with traditional terno sleeves, infused with soft feathers to symbolize her rapport with the birds. Her stepmother and stepsisters embodied the extravagance of Flores de Mayo as they sauntered in garish, floral numbers. Meanwhile, characters such as The Witch, The Wolf, and The Mysterious Man incarnated figures of Filipino mythology with designs inspired by the classic styles of the mangkukulam, sarut, and ermitanyo, respectively.
Towering over the stage, capiz shell windows framed the actors as they pranced upon multicolored Vigan tiles. The windows doubled as projection spaces, maintaining the magic during transformative events such as the growth of the beanstalks and the arrival of The Giant. More than mere visual aids, these windows became openings into the characters at their innermost moments. The bahay na bato design stirred nostalgia, resembling a childhood home where enchantment first took root.
Ultimately, through the integration of local materials and textures, the production appealed most to Filipino sentimentality—calling forward cherished memories, superstitions, and sensibilities to create an experience both deeply personal and inspirational.
While rooted in fantasy, Into the Woods is far from an escapist tale. Its first act chased dreams and the promise of “ever after,” while the second confronted the consequences once reality had set in. Each character embodied the ideals and struggles that mirrored everyday realities, while embracing wit and whimsy.
Familiar dynamics like community and interdependence took center stage, echoing cultural truths about resilience and collective strength, especially in times of tragedy. The overbearing love of the Witch, the longing of the Baker to build a family, and the bonds tested and reforged in times of hardship speak to a culture where kinship is both a gift and a burden, and sacrifice is an inheritance passed down through generations.
In this way, Into the Woods became a story for all generations, and the production proved that it transcends cultural boundaries. At its core, the musical is both a warning and a wish—a melody of parents’ anxieties, children’s growing curiosities, and humanity’s shared dream for a happy ending despite the odds. The adaptation spotlighted the rich tapestry of Filipino life, allowing unparalleled talent to illuminate shared emotional truths.
As audiences, young and old, ventured deeper into the woods, they left not just with Sondheim’s entrancing tunes still chiming in their thoughts, but with a deepened appreciation for the reflective artistry of the local theatrical scene. From the show’s “Student Rush” experience, which offered students discounted ticket prices, to its timeless message about finding family in unlikely circumstances, the production was designed to prioritize the human experience. It became a space where theatergoers could safely explore emotions and realize their aspirations.
Above all, the show was a proud testament of the Filipino spirit and its beating heart in every production. As the curtains closed and the audience hummed into the night, they dared to leave behind their own wishes: dreams for more localized adaptations, a fonder celebration of the theater arts, and the continued cultivation of local talent.