Review: Desert Theatricals Goes INTO THE WOODS

SPECIAL TO BWW: BY JOE SAVANT

The City of Rancho Mirage and Desert Theatricals present the Stephen Sondheim and James Lapine musical Into the Woods at the Rancho Mirage Amphitheater, October 23, 24 & 25, 2026.

Producers Ray Limon and Joshua Carr open the Desert Theatricals 2026–2027 season with a stunning production of the 1986 Stephen Sondheim/James Lapine musical Into the Woods.

Into the Woods is an ambitious piece of theater, like much of the Sondheim canon. At face value, it is an amalgamation of well-known fairy tales: Cinderella, Rapunzel, Jack and the Beanstalk, and Little Red Riding Hood. Woven into the story is a baker and his wife, longing for a child but unable to have one until they reverse a curse placed on the baker's family by the witch who lives next door.

The story begins, "Once upon a time!" What follows a simple "I wish" from the many characters is a complex, multilayered tale that leads them on a journey into the woods. But in achieving their hearts' desires, they discover the consequences of getting what they wish for.

It is also hilarious, heartwarming, thought-provoking, and layered with metaphor. One can take a deep dive into the meaning behind Little Red Riding Hood's self-discovery, Cinderella's realization that her happy ending isn't what she expected, the relentless pursuit of the Baker and his Wife, or the vicious giant in the land, hell-bent on revenge and destroying everything and everyone she encounters.

The large ensemble cast rises to the challenge of Sondheim's music and lyrics, which are often overlapping and complex. This is a monumental piece of work that requires precision, both musically and dramatically. The collaboration of artists, both onstage and off, is to be congratulated for this beautiful production.

Leading the cast are Catrina Teruel Clark as the Witch, Jacob Lozano as the Baker, and Lizzie Sosa as the Baker's Wife. These three characters are the catalysts that drive the story and the other characters through their journeys.

Catrina Teruel Clark last appeared in Rancho Mirage as Bloody Mary in South Pacific (2023). Here she shines as the Witch, bringing the crazed depravity of a woman under a curse who transforms into a beautiful version of herself, but is still very much a witch, navigating the chaos of reversing the curse.

As the Baker, Jacob Lozano brings his considerable skills to a role that requires both comedy and despair as he plunges through the woods, doing whatever is necessary to remove the curse and become a father.

Lizzie Sosa as the Baker's Wife is delightful. Sosa is a Coachella Valley native who has graced many stages of this community with her considerable talent for nearly 20 years. Navigating the confusion of the mixed-up fairy tales and the unpredictability of the woods, Sosa's character is a steady force with her eyes on the prize, as she too will stop at nothing to help her husband and achieve motherhood.

Abigail Matossin as Little Red Riding Hood is hilarious in the role and steals every scene she is in. Her impressive rendition of "I Know Things Now" reveals an inner journey of self-discovery that speaks volumes.

Noah Wahlberg as Jack, the kid with the beanstalk, brings his wide-eyed innocence and impressive vocal chops to the role. "Giants in the Sky" is a moment of pure joy.

And Nicole Kennedy, also somewhat wide-eyed and innocent as Cinderella, beautifully grows into the heart that holds everything together, except her marriage to the Prince. From "On the Steps of the Palace" to "No One Is Alone," she has a beautiful character arc to play and for the audience to enjoy.

The ensemble cast is excellent, with every actor onstage carrying their role and meeting the challenges of this piece. J. Stegar Thompson as the Mysterious Man/Narrator pushes the story along throughout, until his alter ego is revealed. John Corr as Cinderella's Prince and the Wolf is hilariously vain and very self-assured, declaring that he was "raised to be charming, not sincere." He and Julian Prerez, as Rapunzel's Prince, trade miseries over the woes of princely life. Brooklyn Jaudon as Rapunzel/Cinderella's Mother carries the burden of being locked in a tower for most of her life, only to be released into the cruelty of the real, or imaginary, world outside. Christina Marie Harrell as Jack's poor, pitiful mother navigates the journey from abject poverty to sudden wealth while trying to guide her dimwitted son.

Cinderella's family is appropriately self-centered and self-entitled. Stepmother Kelly McDaniel, along with Florinda and Lucinda, played by Imani De Leon and Charlotte Upp, are deliciously unpleasant and mostly oblivious to their world falling apart around them. Michael Hamilin as Cinderella's Father is more than happy to abandon his daughter and take his leave until everything calms down.

Little Red Riding Hood's Granny, played by Joan Vento-Hall, is tough as nails and in for the long haul. And as the Giant's Wife, causing all the death and destruction, television star Joyce Bulifant lends her voice to the woman bent on revenge, determined to destroy everything in her path.

Director/choreographer Ray Limon is to be congratulated for this impressive production. There is so much work that goes into a show of this magnitude, in every department.

It was a joy to have the orchestra onstage behind the action, but very much a part of it as well, since the music is so intricately integrated into the storytelling. Under the direction of Joshua Carr, the orchestra and cast were laser-focused and achieved the intricacies of the Sondheim score. The musical direction under Robert K. Rutt was flawless, with the music ticking along like clockwork. The difficult layering and overlapping of music and lyrics were a standout in this production.

Stage manager and projection designer Nick Wass kept the action moving seamlessly. The projections were an inspired choice and enhanced the storytelling as the characters moved through the woods. Lighting design by Gavan Wyrick and sound design by Ilana Elroi ensured that every part of the show could be seen and heard. Costuming a show like this is a complicated undertaking. Costume coordinator Leslie Upp succeeded in giving the actors the appropriate looks needed to complete the characters they portrayed.

If I have a complaint, it is only that this is a three-show run. By the time you are reading this, the set has been struck, and the props have been put away.

It was a joyful production, and all involved are to be congratulated. Ray Limon and Joshua Carr continue their tradition of bringing the highest level of theater and entertainment to the Rancho Mirage Amphitheater. Outdoor theater is not easy in the desert, but Desert Theatricals succeeds beautifully.

The season continues in the spring of 2027 with Sister Act and Man of La Mancha. I highly recommend them.

And finally, a huge thank you to the City of Rancho Mirage for the upgraded and very comfortable new seating in the amphitheater!

SPECIAL TO BWW: BY JOE SAVANT