A witch, a curse, a cow and a handful of magic beans.
At first glance, “Into the Woods” is a whimsical fairytale mashup. But as the story unfolds, it becomes something deeper — a moving meditation on loss, responsibility and the truth behind “happily ever after.”
Boston University On Broadway performed Stephen Sondheim and James Lapine’s musical from April 10 to 12 at Tsai Performance Center. While the production stumbled in some staging and design elements, its emotional resonance and vocal strength more than made up for it.
Directed by junior Lauren SanFanAndre, the musical follows a group of beloved storybook characters chasing their wishes. The Baker and his Wife long for a child, Cinderella dreams of the King’s festival, Jack hopes his cow will give milk and Little Red Riding Hood wishes for safety in the woods.
But wishes, the show warns, come with consequences.
When The Baker and his Wife discover that a curse from The Witch prevents them from having a child, they embark on a quest to lift it — a journey that entwines the fates of every character.
The first act is full of charm and momentum, but it’s the darker, more introspective second act where the show finds its true voice. There, the characters must face the consequences of their fulfilled wishes and the cost of their choices.
From the opening number, junior Maia Penzer commanded the stage as The Witch. Her delivery in the “Prologue: Into the Woods” — particularly the line “greens, greens, nothing but greens” — established her as a force.
Ferocious yet layered, Penzer brought nuance to the role, anchoring the fantasy with realism. Her Act II number, “Last Midnight,” was a chilling highlight, delivered with fiery precision and haunting vulnerability.
Comic relief came in the form of Cinderella’s Prince, played by junior Joey Russoniello, and Rapunzel’s Prince, played by senior Evan Misinski. Their duet “Agony” was a comedic high point — their synchronized melodrama and exaggerated heartbreak drew raucous laughter from the crowd.
Misinski, who also played The Wolf, shifted seamlessly between charm and menace. His brief but chilling scenes as The Wolf in Act I offered a sharp contrast to his later buffoonery as Rapunzel’s Prince, showcasing impressive range.
As Jack, junior Jozef Janak brought a wide-eyed sweetness to the role. His rendition of “Giants in the Sky” was one of the most vocally striking performances of the evening — clear, powerful and full of honest emotion.
Janak’s chemistry with Milky-White, played by senior Cameron Hoff, was unexpectedly tender. Hoff’s physical commitment — from jittery hooves to sorrowful stares — brought the cow to life. In fact, Milky-White became one of the production’s most memorable characters.
Senior Annalise Ilg offered a refreshingly understated take on Cinderella. Instead of a starry-eyed dreamer, her Cinderella was thoughtful and restrained. Her Act II transformation — choosing independence over fantasy — felt authentic and earned.
Ilg’s vocals, particularly in “On the Steps of the Palace,” were sharp and expressive, though the absence of actual steps diluted the scene’s visual clarity.
At the heart of the production were The Baker and The Baker’s Wife, played by senior Zach Schwartz and sophomore Rose Dubois.
Dubois delivered a standout performance, combining grounded acting with rich, expressive vocals. Her solo “Moment in the Woods” balanced humor and heartbreak, earning one of the night’s strongest applause.
Schwartz took longer to find his rhythm, but ultimately delivered, particularly in quieter moments of grief. A single gesture — silently picking up his wife’s scarf after her death — spoke louder than any monologue.
Technically, the production had strong moments. Sound design added depth, from the thunderous voice of the giant to the soft “plunk” of falling beans.
Choreography, however, lacked consistency. While certain scenes — like the frenetic “Your Fault” and the comedic cow chase — showed creativity, the overall movement didn’t fully match the musical’s ambition.
Costume design was similarly uneven. Most characters wore playful, storybook-inspired outfits, but a few costumes felt disjointed or modern in ways that clashed with the show’s tone. For instance, while visually striking, The Witch’s sleek red velvet gown felt out of step with the production’s broader aesthetic.
Still, these inconsistencies didn’t overshadow the cast’s heartfelt performances. By the time Schwartz and Ilg joined voices in “No One Is Alone,” the audience was right there with them — hearts full and eyes glassy.
BUOB’s “Into the Woods” may not have been flawless, but it captured what matters most. It told a story about growing up, letting go and finding hope in the aftermath of broken dreams — not through spectacle or fairy dust, but with sincerity, soul and seriously good vocals.
Campus Associate Editor Joshua Rosenthal and Daily Free Press writers Maia Penzer and Zach Schwartz are members of the “Into the Woods” production. They were not involved in the writing, reporting or editing of this article.
