Review: SELECTIONS FROM INTO THE WOODS Reimagines Sondheim at Don’t Tell Mama
A bold actor-musician approach brings fresh texture to Sondheim’s layered score
Fidelity Theatricals took on Selections from Into the Woods at Don’t Tell Mama on May 8th, with co-directors and co-music directors Emma Helene Campbell and David Speechley leading the charge. This wasn’t just a standard concert staging. The entire production was done actor-musician style, with every performer also playing an instrument throughout the show. It’s an ambitious choice for any piece, but especially for Sondheim, where the music is already complex and tightly structured. That added layer gave the performance a raw, immediate energy, with the cast actively shaping the sound of the show in real time.
Into the Woods weaves together several familiar fairy tales into one interconnected story, following characters like Cinderella, Jack, Little Red Riding Hood, and the Baker and his Wife. Act one builds toward the fulfillment of each character’s wish, while act two explores the consequences that come after. Beneath the fairy tale structure, the show digs into responsibility, desire, and the ripple effects of personal choices. Even in a selections format, those themes still came through, especially as the songs shifted from playful to more reflective.
The cast featured Asher Shectman, David Speechley, Sarah Taylor, Hannah Rowan West, Tommy Dougherty, Bill Fitzpatrick, Emma Helene Campbell, Tirza Meuljic, Marion Stenfort, Sydney Jo Gershon, Vincent Fontenelli, Sebastian Henson, Shannon Connolly, and KT Cotten. The actor-musician element added a visible sense of collaboration across the group, with performers constantly moving between character work and instrumental support. It created a shared responsibility for both storytelling and sound that made the ensemble feel especially connected.
KT Cotten stood out as the Witch, accompanied with a cello throughout the show Cotten was able to add extra dramatics to an already dramatic character, with “Last Midnight” serving as the clear centerpiece of the performance. It’s one of the most explosive songs in the show, and Cotten met it with a level of control that made the build feel intentional rather than chaotic. Vocally, the performance leaned into the sharp shifts in tone, moving from biting sarcasm to full intensity without losing clarity. The phrasing stayed precise even in the faster sections, which kept the lyrics cutting through cleanly. What made it land was how contained it felt at the start, allowing the escalation to hit harder by the end. 
Bill Fitzpatrick brought a playful unpredictability to Jack, performing while on synth. There was a looseness to the character that worked well, especially in the early moments, but it never felt unfocused. His performance of “Giants in the Sky” allowed it to be both playful and dramatic, capturing the childlike wonder of Jack. Vocally, Fitzpatrick leaned into the storytelling aspect of the songs, making sure each moment landed clearly. As the stakes grew, that same approach shifted just enough to reflect the character’s growth without losing the charm that defines Jack.
Sarah Taylor’s Baker’s Wife was one of the most grounded performances of the night, with guitar adding a warm, steady layer to the character. Songs like “Moments in the Woods” benefited from that sense of control, with Taylor allowing the emotional arc to unfold naturally rather than pushing it too quickly. The vocal tone stayed consistent even as the stakes rose, which made the performance feel honest and connected. The added responsibility of playing never seemed to disrupt the flow, which is not a small feat in material this demanding.
David Speechley’s Baker, also on guitar, complemented that performance well, creating a strong dynamic between the two characters. There was a clear sense of internal tension in the performance, especially in moments where the Baker’s uncertainty comes to the surface. Vocally, Speechley kept things grounded, focusing on clarity and intention over showiness. The guitar work added another layer of consistency, helping anchor the performance both musically and emotionally as the story moved forward.
What made this production stand out overall was how fully it committed to the actor-musician concept without losing sight of the material itself. Taking on Sondheim is already a challenge, but adding guitars, synth, and live instrumental performance on top of that raises the stakes significantly. The fact that this cast managed to balance all of that, especially within what was likely a short rehearsal process, speaks to both their preparation and their trust in each other. The result was a performance that felt active, collaborative, and genuinely impressive in how much it was able to hold at once.
Learn more about Fidelity Theatricals and where to follow them on social media on their Linktree here.
Fidelity returns to DTM on May 29 with selections from Mean Girls. Find tickets to that and more upcoming shows at Don't Tell Mama on their website here.
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