Review: INTO THE WOODS with Studio 42 & Co at The Forum in Jonesboro

There’s something wonderfully magical about stepping into the world of Into the Woods, and Studio 42 & Co transported audiences straight into that enchanted forest with their ambitious production at The Forum Theatre, running April 2–5. Directed by Dylan Poe, with Assistant Director Camryn Counts and Music Director Rike Robinson, the creative team guided this production with a clear vision that honored both the whimsy and emotional depth of the piece. With intertwining storylines, beloved fairy tale characters, and a score by Stephen Sondheim that is as intricate as it is iconic, this production embraced both the light and the dark, bringing new-to-me theories that made the musical fresh.

Into the Woods follows a Baker (Ethan Poe) and his Wife (Alex Dunn) on a quest to break a witch’s (Lauren Driver) curse, crossing paths with familiar fairy tale figures like Cinderella (Jaden Martin), Jack (Tyler Simpkins), Little Red Riding Hood (Abby Collums), and Rapunzel (Saisy Blossom Doty). What begins as a playful journey quickly evolves into a deeper exploration of consequences, responsibility, and the complexity of “happily ever after.” Under Poe’s direction, this tonal shift allowed the humor of Act I to bloom naturally before leaning into the darker, more reflective themes of Act II.

From the opening number, the cast demonstrated a strong grasp of Sondheim’s famously challenging score. Under the musical direction of Robinson, the layered vocals in “Prologue” set the tone beautifully, weaving together the individual characters’ desires into a cohesive musical tapestry. As the story unfolded, each performer brought a distinct personality to their role, making it easy to follow the multiple storylines while staying emotionally invested.

Vocally, the production shined in its ensemble work, and Jaden Martin as Cinderella was a standout among them. With a beautiful, clear tone and effortless control, Martin brought a warmth and sincerity to the role that made each of her musical moments shine. Songs like “Your Fault” and “No One Is Alone” were particularly effective, showcasing not only the strength of the individual voices but also the group’s ability to blend and support one another. And then…my favorite moment musically of the night: “Agony.” Rike Robinson as Cinderella’s Prince and Chase Martin as Rapunzel’s Prince absolutely did not disappoint. Their voices were swoon-worthy, ringing with that classic princely bravado, but it was their physicality that truly stole the scene. Every exaggerated leap, every dramatic pose, and every bit of over-the-top prancing had the audience in stitches. They leaned fully into the humor of the piece, creating a perfectly balanced parody of fairytale masculinity that felt both polished and playfully ridiculous. My starry-heart eyes go to both of them for their irresistible charm and commitment to the bit—they understood the assignment and ran (and leapt!) with it.

At the heart of the story were Ethan Poe as the Baker and Alex Dunn as the Baker’s Wife, who anchored the production. Their chemistry felt natural, allowing the audience to fully invest in their journey. Poe brought a grounded vulnerability to the Baker, capturing his uncertainty and growth with authenticity, while Dunn balanced wit and emotional depth as the Baker’s Wife. 

Now truly, I don’t know that I have ever laughed more during a production of Into the Woods. This cast leaned all the way into the comedy, finding moments big and small to surprise the audience with humor. One of the clever and laugh-out-loud moments came from Jericho Smith, who played both the Narrator and the Mysterious Man. In a brilliantly staged bit, Smith delivered lines about the mystery surrounding the Mysterious Man’s death while simultaneously removing his wig and costume pieces, seamlessly transitioning back into the Narrator before our eyes. The meta-theatrical humor landed perfectly, showcasing both sharp comedic timing and an awareness of the show’s playful relationship with storytelling itself. 

Another unexpected and amusing character choice came with Cinderella’s Father, played by Madison Jones. Portrayed as a bit of a drunk—a choice not often seen in productions of Into the Woods—the characterization added a surprising comedic twist to the role. While unconventional, it worked within the heightened world of the production, earning laughs while also giving the character a distinct personality that stood out among the many fairy tale figures.

And, sdding an unexpected layer of humor was Jay Knuckles as the Steward, whose performance carried a delightfully familiar energy that felt reminiscent of Lord Farquaad. Whether it was intentional or simply a happy coincidence, the characterization leaned into a similar comedic rigidity and over-the-top authority that made every appearance memorable. In a world where fairy tales constantly overlap and reimagine one another, it almost felt like a clever little “Easter egg” tucked into the production. The audience certainly responded, with each moment landing with an extra punch of humor. And honestly, whether it was a nod to Shrek or just a brilliantly funny performance, it absolutely worked. 

On a serious note, one of the most striking and unexpected choices in this production of Into the Woods came in its handling of Rapunzel’s fate. Rather than allowing her story to remain ambiguous, Studio 42 & Co leaned into a darker interpretation—one that suggested the loss of her twins and culminated in her running toward the Giant, implying a tragic end. It was a chilling moment that shifted the emotional temperature of the show. In doing so, the production underscored the devastating ripple effects of the characters’ choices and reinforced one of Stephen Sondheim’s most enduring themes: that actions have consequences, and not every story is granted a tidy resolution. 

Another standout element came from local talent Mary Hollis Inboden, who voiced the Giant. Though unseen, her presence was unmistakable, delivering booming authority with just the right touch of theatrical flair. It’s always a thrill to hear a familiar voice, especially one with such an impressive résumé, including appearances in The Real O'Neals, The Righteous Gemstones, and The Paper. Her contribution added an extra layer of excitement for local audiences and elevated the production’s sense of scale.

Artistically, they were very crafty when it came to the Milky White puppet. Full of personality and brought to life by the animated Faye Scudder-Tate, the character became far more than just a prop—it was a fully realized presence on stage. Through thoughtful manipulation and expressive movement, Scudder-Tate infused Milky White with charm and humor, earning genuine reactions from the audience and adding an extra layer of whimsy to the storytelling.

Studio 42 & Co’s Into the Woods was a joyful and thoroughly entertaining production that honored the brilliance of Sondheim’s work while showcasing the talent and dedication of its cast and creative team. It was an evening of laughter, reflection, and just the right amount of theatrical magic—proof that even deep in the woods, there’s always something meaningful to discover.