Into the Woods

Oakton High School

Photo credits: Heather Regan

Editing credits: William Fermen

Anything can happen in the woods…

And by “anything,” I mean the incredibly stellar production of “Into the Woods” at Oakton High School. The forest might have been filled with man-eating giants, sure, but I’d gladly venture into it three times over.

When I made this site, I promised myself that not every review can be a rave… but after seeing two of the most professional-quality high school shows of my entire theatre career--back to back, mind you--it doesn’t seem like that’ll be the case. 

Luckily, it makes my job pretty darn easy. 

Into the Woods

Listen. I’m a fiend for Sondheim shows, but they’re complex. Not only in terms of music (shout out to the incredible Oakton Orchestra for skillfully tackling Sondheim’s wicked chromaticism and rhythms), but they’re also complex in terms of storytelling. Into the Woods is a prime example of this. From a first act that literally ends with a jaunt to the familiar phrase “Happily Ever After,” this show has to take a 180-degree turn on its head by the time act 2 rolls around. 

Despite being wrapped in the familiar comfort of a fairy tale, “Into the Woods” is far from a bedtime story--it’s a dark commentary on the consequences that result from our choices. That’s exactly what makes Oakton High School’s performance of “Into the Woods” so impressive. Every actor dove headfirst into the complexities of their characters, and never shied away from leaning into their greatest flaws. By doing so, they enriched the fairytale with a refreshing sense of humanity.

Anyway, enough about philosophy. 

Let’s talk about how epic the stage looked, shall we?

Technical Elements

If you couldn’t already guess from the title, “Into the Woods” takes place... in the woods. So how does one capture an entire sprawling forest on a single stage? Eliot Hettler and his team’s ingenious set utilized multiple levels, hidden entrances, trap doors, and even a working drawbridge to do just that.

A foliage-covered platform with bark-wrapped posts lined the back of the stage, and burst with lush layers of greenery. Not only did it set the tone for the show’s forested atmosphere, but it served as the focal entrance and exit points for the cast. Shadowy branches hid behind the perfectly-lit cyc, adding an additional layer of depth.

There are so many elements of this set I could talk about: the collapsible beanstack, Eva Klinker’s intricate puppeteered face for the giant, the oversized storybooks, Rapunzel's winding tower staircase… every element of the story was larger-than-life. But alas, a story can only have so many pages to recount it.

Onto the characters!

Standout Performances

Into the Woods is certainly a unique show in that it has so many roles, and almost every single one of them has their own song during the show. With that in mind, a school that puts on “Into the Woods” needs to have a strong cast across the board to carry the weight of the show, because each and every character’s journey is integral to the story.

AKA there’s a long review ahead, with so many fantastic performers to shout out… tread lightly.

The tale opens with Giovana Abdo as Cinderella: the doe-eyed princess of the classic rags-to-riches story. Abdo’s soprano voice was clear as a bell, and her emotional depth pierced the hearts of audience members in her stunning rendition of “No One Is Alone.” A character like Cinderella comes with the danger of falling into one of two pitfalls: too ditzy for a princess, or too proper for a character plagued with indecision. Abdo, however, managed to walk the line perfectly in a portrayal that was both poised and down-to-earth.

Jake Deering and Savannah Day perfectly portrayed the childlike naivete of Jack and Little Red Riding Hood. As Deering paraded across the platform recounting tales of giants, Day sheepishly stole an extra bun from the Baker with hilarious timing. By the time the duo came together for a particularly playful squabble, the audience couldn’t help but laugh as both actors delivered each line with more comedic punch than the last. Their expert physical comedy was matched by Gabriel Ayala as Milky White: both the puppeteer of a cow, and the heart and soul of Jack’s best friend.

Speaking of comedic panache, how to begin with this show’s iconic princes? Romain Dairay was uproarious as Cinderella’s Prince, and never once dropped the exaggerated gait of his posh persona. Alongside the dashing Rigley Mostafavi as Cinderella’s Prince, the two crooned about their out-of-reach princesses with utter desperation. Even between verses of “Agony,” Dairay and Mostafavi meticulously combed their hair and kept up princely appearances. 

In a world of ego-centric princes, “Into the Woods” is far from short of powerful female characters. Leah Graham, for one, stepped into the role of the Baker’s Wife with the perfect balance of warmth and confidence. She never once hesitated to put her husband in his place--or to outsmart him when necessary--all while maintaining a crystal-clear belt. Meera Ayyar simply captivated as the Witch; from her first hobble onstage to her final desperate plea, Ayyar inhabited her character’s rugged soul with palpable emotion. Her bottled frustrations bubbled to the surface in “Witch’s Lament,” and Ayyar demonstrated remarkable vocal control as she lashed out against the cruelty of the world. 

There’s a sturdy binding to every worn book, and John Poncy’s grounded portrayal of the Baker was just that, cementing it as one of my favorite interpretations of the Baker to date. From the tale’s beginning, he expressed genuine desire and determination--only ever so often riddled with frustration--and made it clear he’d risk anything to undo his family’s curse. By the height of act 2, Poncy delivered stunning vocals in an incredibly poignant rendition of “No More:” a defiant end to the cycle of generational trauma, and the planting of a seed for a more hopeful future.

Who Is this Show For?

Whether you grew up loving fairytales or simply love a twisted story, “Into the Woods” was a remarkable journey through life’s complexities. Still, for all its dark elements and philosophical ponderings, “Into the Woods” is full of zany characters and its fair share of hilarious moments.

I won’t lie, “Into the Woods” is a lengthy show by default, but Oakton did a spectacular job with the pacing of this production. The blocking was specifically choreographed to minimize transitions and blackouts, which meant that the show was constantly moving. Plus, with one stellar performance right after another, it’s hard to even track the time ticking by.

Oakton High School’s production of “Into the Woods” was nominated by both the Cappies and Brandon Victor Dixon Awards; an impressive feat, and not a surprise for a show of this caliber. As such, they’ll be performing at the National Theatre during the Brandon Victor Dixon Awards on Saturday, May 17th at 7pm. Wish them luck and follow them on instagram @oaktontheatre!