Into the Woods is no mere musical. The Stephen Sondheim/James Lapine masterpiece is a profound, layered theatrical experience that cleverly mixes the familiar threads of classic fairytales with intricate melodies and a smart book. Family Music Theatre opened the big musical last weekend staged at the New Vida Center in Oak Cliff. The show is a personal favorite and this was a new-to-me theater (despite its 30 year history!), so I may have had some anticipation and slight skepticism. But dangit, this production immediately diminished any personal reservations. Director Andrew Isenberg and Music Director Sam Germany crafted a show with reverence through its stunning cast of voices, a delightful set and a lavish sounding orchestra that delivered touching charm from its first notes to the finale. 

So let’s back up. 

On paper, a show by Family Music Theater staged at a church doesn’t seem like an immediate fit for Dallas Voice’s LGBTQ+ readership. Sure. Fair. I thought about that. But FMT is not a theater to sleep on – or at least this show. The range of talents and voices here were next level good and the experience was all about the show but also mindful of younger audience members.

Crucially, the success of Into the Woods rests on the strength of its entire company. These guys  handled Sondheim’s challenging score with awe-inspiring skill and emotional nuance. 

The chemistry between Samuel German and Chelsea Bridgman as the Baker and the Baker’s Wife was striking. Those characters served primarily as the emotional core to the story. Their natural familiarity which grounded the show and the other characters. 

As Cinderella, Pamela Anglero displayed a lovely ebullience and in the more emotional second act, she brought a lovely depth to her character. Daniel Walker effectively portrayed Jack’s eager youth with tints of awkward goofiness. 

Furthermore, the role of the Witch by Angela Germany was played with a command that captured her power as well as her softer side. 

While the entire ensemble brought strong conviction, To standout among an incredible cast would be a feat and Trinity Denson as Red Riding Hood delivered a remarkable portrayal. She effortlessly blended juvenile innocence, precocious wit and impeccable comedic timing. As the show shifted, Denson added layers to her role while keeping her magical element front and center. 

The set’s charm was an added touch. Starting with grand children’s book titles, the set ultimately transformed into..umm..the woods. A centerstage portal was an effective element albeit sometimes making some entrances and exits a bit bumbling. Krista Golightly’s costuming added to the rustic layers of the scenery while also delivering pops in the royal outfitting. Although I couldn’t get Poison Ivy out of my head for the Witch’s reveal costume. 

Germany, the music director, led a beautiful band that sounded lush and far bigger than its eight members His voice work also helped add dimensions to the characters and the actors’ performances. 

FMT’s rendition of Into the Woods was a joyous and heartfelt achievement. Bolstered by an extraordinary ensemble, the production was delightful, provocative and moving. 

The show runs through Oct. 25. 

–Rich Lopez

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