An Enjoyable Journey Into the Woods

Be careful what you wish for. It’s the enduring lesson at the heart of Stephen Sondheim and James Lapine’s Into the Woods, the Tony Award-winning musical that opens Desert Theatricals’ eighth season at the Rancho Mirage Amphitheater, running through Sunday evening, October 25.

With its brilliant score, clever storytelling, and profound exploration of human nature, Into the Woods remains one of musical theater’s great achievements. Desert Theatricals delivers an enjoyable, if somewhat uneven, production that benefits from several strong performances and some impressive musical moments.

The story brings together familiar fairy-tale characters, including Cinderella, Little Red Riding Hood, Jack of beanstalk fame, and Rapunzel, whose lives become intertwined with those of a childless Baker and his Wife. Desperate to start a family, the couple ventures into the woods to collect four objects needed to reverse the Witch’s curse. What begins as a whimsical journey toward happily ever after takes a decidedly darker turn when they discover that getting what you wish for often comes with unexpected consequences.

It’s an inventive premise, and one that requires a delicate balance between comedy, fantasy, and genuine emotional depth.

Among the production’s brightest highlights is Lizzie Sosa as the Baker’s Wife. Sosa brings warmth, humor, and an appealing authenticity to the role, culminating in a terrific rendition of “Moments in the Woods” that arguably steals the show. Her performance is both vocally accomplished and emotionally grounded, capturing the character’s conflicting desires with considerable charm and insight.

Sosa also shares some wonderful moments with Jacob Lozano as the Baker, particularly during their delightful duet, “It Takes Two.” Lozano is especially effective in the more emotional moments in the latter half of Act II during No More and No One is Alone, when his performance finds a greater sense of vulnerability and emotional truth. Together, they provide some of the evening’s most satisfying moments.

Catrina Teruel delivers a nice turn as the Witch, bringing a commanding presence to this larger-than-life character. Her performance gains particular strength in Act II, following the Witch’s transformation, when she showcases her considerable vocal abilities. Her renditions of “Last Midnight” and “Children Will Listen” are among the production’s musical highlights.

As Cinderella, Nicole Kennedy brings sincerity to a character whose journey is ultimately about discovering that the life we think we want may not be the one that makes us happy. Kennedy navigates Cinderella’s indecision and gradual self-awareness with a gentle charm that suits the character well.

Abigail Matossian is adorable as Little Red Riding Hood, bringing an infectious energy and playful spirit to the role. Noah Wahlberg is equally engaging as Jack, effectively capturing the character’s youthful innocence and enthusiasm. While the age distinction between Jack and his mother isn’t quite pronounced enough to make their relationship entirely convincing, both performers deliver their roles effectively.

John Corr as Cinderella’s Prince and the Wolf, and Julian Perez as Rapunzel’s Prince, provide some amusing moments, although their characterizations lean a bit heavily into the superficial vanity. The humor in these roles is more effective when grounded in genuine human behavior rather than played primarily for its broad comic possibilities. A little more attention to the truth beneath the pretense might have made their performances more satisfying.

J Stegar Thompson, doubling as the Narrator and Mysterious Man, offers a serviceable turn as the former, although his performance is more compelling as the latter, where he brings a welcome sense of warmth and humanity to the character.

Director and choreographer Ray Limon has long demonstrated a particular talent for staging large ensembles, and that skill is very much on display here. His ability to move this sizeable company gracefully across the amphitheater stage, particularly during the title number, is impressive and frequently a pleasure to watch. While some of the musical’s darker themes and emotional complexities don’t quite make it to the surface, Limon keeps the proceedings moving with considerable energy and an assured sense of theatrical staging.

Less successful is the production’s scenic environment. For a musical titled Into the Woods, one hopes to feel genuinely transported into a forest, whether through imaginative theatricality or a more traditional scenic approach. Unfortunately, the setting never quite achieves that sense of immersion. The sparse trees, some appearing only partially wrapped in vines, give the scenery an unfinished quality, while the extensive reliance on projections does little to compensate. The overall effect feels somewhat hastily assembled, leaving the visual world less magical and atmospheric than the material deserves.

Musically, however, the production has much to celebrate.

Robert K. Rutt deserves special recognition for his work as music director. Sondheim’s intricate harmonies and demanding vocal arrangements are no small feat, and the ensemble handles them with impressive precision and musicality. The company sounds terrific together, particularly in the show’s more complex ensemble passages.

And, as is so often the case with Desert Theatricals, the live orchestra is a highlight. Under Joshua Carr’s capable baton, Sondheim’s magnificent score receives the attention and musical richness it deserves. Having a live orchestra of this caliber accompanying a production is rare in the Coachella Valley, and one that continues to distinguish Desert Theatricals’ offerings.

Ultimately, you won’t find anything particularly new or refreshing in this interpretation of Into the Woods. Nevertheless, it is often an enjoyable rendering of a musical theater classic. The performances of Sosa, Teruel, and Lozano are worth the price of admission, and the outstanding musical contributions elevate the evening considerably.

The journey through these woods may not always be magical, but there are certainly some lovely moments to discover along the way.

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photos by Jennifer Yount

Into the Woods
Desert Theatricals
Rancho Mirage Amphitheater, 71560 San Jacinto Dr, in Rancho Mirage
Fri, Sat & Sun at 7:30 (gates open at 5:30); chairs are provided
ends on October 25, 2026
for tickets ($55–$100, plus applicable fees),
call 760.620.5993 visit Desert Theatricals

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