Boston University On Broadway (BUOB) performed Stephen Sondheim and James Lapine’s musical “Into the Woods” from April 10 to 12 at the Tsai Performance Center, showcasing a whimsical yet profound narrative that explores themes of loss, responsibility, and the reality behind ‘happily ever after.’
Directed by junior Lauren SanFanAndre, the production presents a mosaic of beloved storybook characters on a quest for their wishes, reveling in the charm and complexity that follows.
The narrative centers around The Baker and his Wife, who dream of having a child, Cinderella, who longs to attend the King’s festival, Jack, who hopes for his cow to produce milk, and Little Red Riding Hood, who wishes for safety while traversing the woods.
However, the story warns that wishes come with consequences.
The couple soon discovers that a curse placed upon them by The Witch hinders their desire to have children, leading them on a quest intertwined with the destinies of each character.
The first act buzzes with charm and energy, but it is the darker, introspective second act where the show truly shines, forcing characters to confront the ramifications of their fulfilled wishes and the costs of their decisions.
Junior Maia Penzer stole the show from the onset as The Witch, her commanding presence felt throughout the opening number, especially with the line “greens, greens, nothing but greens.”
Penzer infused her character with fierce complexity, successfully anchoring the fantasy in realism.
Her Act II song, “Last Midnight,” was particularly striking, delivered with a compelling mixture of fiery intensity and haunting vulnerability.
Comic relief was well-served by Cinderella’s Prince, portrayed by junior Joey Russoniello, alongside senior Evan Misinski as Rapunzel’s Prince.
Their duet “Agony” achieved a comedic high point, with synchronized melodrama and exaggerated expressions of heartbreak eliciting loud laughter from the audience.
Misinski showcased impressive versatility, transitioning smoothly between charm and menace.
His moments as The Wolf in Act I starkly contrasted his later comedic antics as Rapunzel’s Prince.
Junior Jozef Janak brought a wide-eyed innocence to the role of Jack, particularly during his striking rendition of “Giants in the Sky,” noted for its clarity and emotional authenticity.
His chemistry with the cow, Milky-White, played by senior Cameron Hoff, was unexpectedly tender, with Hoff’s physical portrayal imbued with energy and expressiveness, making Milky-White one of the production’s standout characters.
Senior Annalise Ilg portrayed Cinderella with refreshing subtlety, opting for a more grounded and introspective approach rather than a conventional dreamer’s portrayal.
Her transformation in Act II, as she chooses independence over fantasy, proved to be both authentic and compelling.
Ilg’s vocals, especially in “On the Steps of the Palace,” remained sharp and emotive, though the lack of actual steps diminished the visual impact of the scene.
At the core of the performance were The Baker, played by senior Zach Schwartz, and The Baker’s Wife, portrayed by sophomore Rose Dubois.
Dubois delivered a riveting performance, merging grounded acting with rich vocals, particularly shining during her solo “Moment in the Woods,” which balanced humor and poignancy, garnering enthusiastic applause.
Though Schwartz initially seemed to struggle in finding his footing, he eventually delivered poignant moments of vulnerability, notably with a single gesture of picking up his wife’s scarf after her demise, conveying deep emotion without words.
Technically, the show featured strong elements, particularly in sound design, which added depth from the booming voice of the giant to the gentle “plunk” of falling beans.
However, the choreography lacked consistency; while some scenes, like the chaotic “Your Fault” and the comic cow chase, exhibited creativity, the overall movement rarely matched the musical’s ambitious nature.
Costume design also showcased varying degrees of success; while many characters donned playful, storybook-inspired garb, some outfits felt discordant or overly modern, such as The Witch’s sleeking red velvet gown, which appeared at odds with the production’s aesthetic.
Nevertheless, the heartfelt performances overwhelmed any design inconsistencies.
As Schwartz and Ilg harmonized in “No One Is Alone,” audience members were captivated, hearts full and eyes glistening.
In essence, BUOB’s “Into the Woods” may not have been a flawless presentation but it encapsulated vital storytelling about growing up, letting go, and finding hope amidst the fragments of shattered dreams — conveyed not through grand spectacle but with sincerity, soul, and remarkable vocal prowess.
image source from：https://dailyfreepress.com/2025/04/13/bu-on-broadways-into-the-woods-finds-the-truth-in-the-tale/
