Into the Woods: The Complete Musical & Audition Guide
Into the Woods is the show that proves fairy tales aren’t just for kids. Stephen Sondheim and James Lapine take Cinderella, Jack (of beanstalk fame), Little Red Ridinghood, Rapunzel, and a childless Baker and his Wife, send them all into the same forest after their wishes, and then ask the question most storybooks ignore: what happens after happily ever after?
Act One is a witty, fast-moving quest comedy. Act Two is the reckoning, where the consequences of everyone’s choices come back in a “giant” way. That shift is what makes the show such a favorite in community theatres and schools, though it’s worth noting that many schools opt to do the junior version, which is just Act One.
I have a close connection with Into the Woods, as it was the musical we did my senior year of high school, and I played the Baker’s Wife. It’s still one of my favorite roles I’ve performed, AND my older daughter, Vanessa, also got to play the part in the junior version at her middle school.
Whether you’re getting ready to audition for the show, or deciding whether your theatre should take this show on, read this guide to learn about the plot, characters, songs, and production demands.
Into the Woods at a Glance
| Book | James Lapine |
| Music and lyrics | Stephen Sondheim |
| Based on | Brothers Grimm fairy tales, including Cinderella, Little Red Riding Hood, Rapunzel, and Jack and the Beanstalk, woven together with an original story about a Baker and his Wife |
| World premiere | Old Globe Theatre, San Diego, December 4, 1986 |
| Broadway opening | November 5, 1987, Martin Beck Theatre; 765 performances |
| Awards | 1988 Tony Awards for Best Original Score, Best Book of a Musical, and Best Actress in a Musical (Joanna Gleason, the Baker’s Wife) |
| Setting | A storybook kingdom and the woods that surround it |
| Structure / rating | Two acts; MTI rating: PG-13 |
| Cast | MTI lists 18 roles and a flexible medium cast (11–20 performers), plus a handful of small parts and cameos |
| Musical style | Sophisticated, wordy Sondheim score: legit and contemporary musical theatre singing, intricate patter, and lots of interlocking ensemble passages |
| Dance / movement | MTI lists the dance requirement as “None”; the show relies on staging, comic physicality, and lots of traffic through the woods |
| Versions | Full version (two acts); Into the Woods JR. (60-minute, one-act adaptation of Act One for young performers, rated G); and an Into the Woods Sr. adaptation (part of MTI’s Broadway Senior line) |
| U.S. licensing | Music Theatre International (MTI) |
| Music resources | Jonathan Tunick’s standard orchestration, plus MTI resources including KeyboardTEK, OrchExtra, a Performance Accompaniment Recording, RehearScore, and Transpositions-On-Demand |
What Is Into the Woods About?
Into the Woods is about wishes and what they cost. A Baker and his Wife learn that the Witch next door has cursed their family to be childless. To lift the curse, they have to go into the woods and bring back four items: a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. Along the way they cross paths with (and take from) Jack, Little Red, Rapunzel, and Cinderella, each of whom is chasing a wish of their own.
By the end of Act One, everyone seems to have gotten what they wanted. Act Two shows us what happens after you get what you want. Underneath the jokes, the show is about parents and children, community and responsibility, and the stories we pass down. As the Witch warns at the end: careful the things you say, children will listen.
Into the Woods Synopsis
Act One
Under the Narrator’s guidance, three households introduce their wishes. Cinderella longs to go to the King’s Festival. Jack wishes his beloved cow, Milky White, would give milk. The Baker and his Wife wish for a child. The Witch arrives and explains that years ago the Baker’s father stole from her garden, including her magic beans. As punishment, she took the Baker’s baby sister and cursed the family tree. If the couple can bring her the four items before the third midnight, she’ll reverse the curse.
Everyone heads into the woods. Jack’s Mother sends him to sell Milky White, and the Baker’s Wife talks him into trading the cow for five beans that might be magic. Little Red meets a hungry Wolf on the way to Granny’s house. The Baker rescues her, and a grateful (and much wiser) Little Red gives him her cape. Cinderella attends the festival three nights running, fleeing her Prince each time, until she leaves behind a single golden slipper. Rapunzel’s Prince discovers the girl in the tower, and the Witch, enraged that her daughter has been entertaining the Prince, banishes Rapunzel. Meanwhile Jack’s beans grow a beanstalk. He climbs it, steals from the giants, and when a giant follows him down the beanstalk, Jack cuts it and the giant falls to his death.
The Baker and his Wife learn to work as a team. With help (and plenty of meddling) from a Mysterious Man, who turns out to be the Baker’s long-lost father, they deliver the four items. The Witch regains her youth and beauty but loses her powers. Cinderella marries her Prince, Rapunzel is reunited with hers, Jack and his mother are rich, and the Baker’s Wife is expecting. It’s happily ever after… almost. A second beanstalk has quietly sprouted.
Act Two
In an opening that parallels the opening of Act One, Act Two begins with everyone expressing their new wish, having already gotten their first. The wife of the giant Jack killed comes down the new beanstalk seeking revenge, flattening homes and the royal castle. The characters return to the woods to escape or hunt the Giant, and the losses start to pile up. The fairy tale characters sacrifice the Narrator to the Giant; Jack’s Mother is killed during an argument; Rapunzel is crushed; and both princes have moved on to new fairy-tale maidens. The Baker’s Wife has a brief encounter with Cinderella’s Prince, and moments later she is killed in the chaos.
The survivors turn on each other, each blaming someone else, until the Witch sheds light on their hypocrisy and disappears. Shaken, the Baker nearly runs away from his responsibilities, as his own father once did. Instead he returns, and together the Baker, Cinderella, Jack, and Little Red defeat the Giant. The four form a new, makeshift family, and the Baker begins telling his child the story we’ve just seen.
Into the Woods Characters and Casting
Into the Woods is a true ensemble show. Nearly every principal has at least one showcase number, and almost no one gets to coast. The vocal ranges and playing ages below come from MTI’s character breakdown. Keep in mind that community productions often cast outside the listed ages, especially for Jack and Little Red.
Principal Roles
| Character | Role description | Vocal range | Playing age |
| The Witch | Sarcastic, aggressive, fiercely protective of Rapunzel. She transforms from crone to beauty at the end of Act One. | F3–G5; big character mezzo/soprano role with rapid patter and a powerful dramatic belt/mix | 45–55 |
| The Baker | A harried, insecure, loving man who wants his wife to be happy but needs to learn he can’t run from responsibility. | A♭2–G4; baritone/high baritone; strong acting through song | 35–45 |
| The Baker’s Wife | Determined, bright, and practical. She’ll do whatever it takes to have a child. | F3–G5; contemporary mezzo/soprano with comic timing and a lyrical line | 35–45 |
| Cinderella | An earnest young woman mistreated by her stepfamily who isn’t sure what she really wants. | G3–G5; lyrical soprano with a warm middle voice | 20–30 |
| Jack | The feckless giant-killer who is “almost a man”: adventurous, naive, energetic, and devoted to his cow. | B2–G4; youthful tenor/high baritone | 20–30 (often cast younger) |
| Little Red Ridinghood | A spoiled, quick-witted, fearless girl who is still naive about the world. | B♭3–F5; bright mezzo with strong comic delivery | 15–20 |
| Jack’s Mother | Browbeating, weary, bold, and fiercely protective of her son. | B♭3–G♭5; comic character voice | 50–65 |
| The Narrator (often doubled with Mysterious Man) | An intellectual, pleasant storyteller who guides the audience and characters, until he becomes part of the story itself. | G2–E4; mostly spoken, with some sung lines | 50–65 |
| Mysterious Man (often doubled with the Narrator) | A mischievous, meddling vagrant who is secretly the Baker’s father. | G2–E♭4; character baritone | 50–65 |
Featured Roles and Ensemble
| Character / track | Role description | Vocal range | Playing age |
| Cinderella’s Prince (often doubled with Wolf) | Vain, charming, and always chasing the next exciting thing. | B2–F4; baritone with comic swagger | 30–40 |
| Rapunzel’s Prince | Just as vain as his brother and just as dramatic about his love life. | C♯3–E4; baritone | 30–40 |
| Wolf (often doubled with Cinderella’s Prince) | A hungry, predatory hunter who tries to lure Little Red off the path. | B♭2–G♭4; baritone | 30–35 |
| Rapunzel | A sheltered, lonely, “loopy-but-lovely” maiden locked away by the Witch. | B3–A5; legit soprano with a high, floating line | 20–30 |
| Cinderella’s Stepmother | Mean-spirited and demanding. | A3–F♯5 | 40–50 |
| Florinda and Lucinda | Cinderella’s stepsisters, who follow their mother’s lead in tormenting her. | C4–A♭5 | 25–35 |
| Cinderella’s Mother | Cinderella’s late mother, who guides her daughter from the tree on her grave. | Short sung part, E4–F4 | 40–55 |
| The Giant | The vengeful wife of the giant Jack killed. Usually a voiceover. | Spoken/voiceover | 40–60 |
| Granny, the Steward, Cinderella’s Father, Snow White, Sleeping Beauty | Small speaking parts and brief cameos. Snow White and Sleeping Beauty appear only briefly, and some productions cut Cinderella’s Father. | Varies; often cast from the ensemble or doubled | Varies |
| Milky White | Jack’s cow, played by an actor in costume or by a puppet, depending on the production. | Non-singing | Any |
Into the Woods Song List
Much of the score flows continuously from scene to song, especially in the long Act One opening and the finales. The principal numbers are listed below in show order.
| Song | Featured performers | What happens |
| Prologue: Into the Woods | Narrator and company | Everyone introduces their wish and heads into the woods. |
| Cinderella at the Grave | Cinderella, Cinderella’s Mother | Cinderella wishes at her mother’s grave and receives a gown for the festival. |
| Hello, Little Girl | Wolf, Little Red | The Wolf tries to lure Little Red off the path. |
| I Guess This Is Goodbye | Jack | Jack says a tender farewell to Milky White. |
| Maybe They’re Magic | Baker’s Wife, Baker | The Baker’s Wife justifies trading beans for the cow. |
| Our Little World | Witch, Rapunzel | The Witch and Rapunzel in the tower (added for the 1990 London production). |
| I Know Things Now | Little Red | Rescued from the Wolf, Little Red reflects on what she’s learned. |
| A Very Nice Prince | Cinderella, Baker’s Wife | Cinderella confesses she isn’t sure she wants the Prince. |
| Giants in the Sky | Jack | Jack describes his thrilling trip up the beanstalk. |
| Agony | Cinderella’s Prince, Rapunzel’s Prince | The royal brothers compete over whose love life is more tragic. |
| It Takes Two | Baker, Baker’s Wife | The couple realize they’re stronger as a team. |
| Stay With Me | Witch | The Witch begs Rapunzel not to leave her. |
| On the Steps of the Palace | Cinderella | Stuck on the palace steps, Cinderella decides to leave her shoe and let the Prince decide what to do. |
| Ever After (Act One Finale) | Narrator and company | Wishes granted… for now. |
| Prologue: So Happy | Company | Act Two opens with everyone not quite happy. |
| Agony (Reprise) | Cinderella’s Prince, Rapunzel’s Prince | The princes have found new obsessions: Snow White and Sleeping Beauty. |
| Lament | Witch | The Witch mourns Rapunzel. |
| Any Moment | Cinderella’s Prince, Baker’s Wife | The Prince seduces the Baker’s Wife in the woods. |
| Moments in the Woods | Baker’s Wife | The Baker’s Wife sorts out what just happened and resolves to go home. |
| Your Fault | Jack, Baker, Witch, Cinderella, Little Red | A rapid-fire blame game. |
| Last Midnight | Witch | The Witch condemns them all and disappears. |
| No More | Baker, Mysterious Man | The Baker and his father confront running away. |
| No One Is Alone | Cinderella, Little Red, Baker, Jack | The survivors comfort one another. |
| Finale: Children Will Listen | Witch and company | A warning about the stories we tell, and a final trip into the woods. |
Need an audition song for Into the Woods?
Get some divine help. See our picks for every major character or track, or let the Audition Song Finder match you with songs based on your role, voice, age, and style.
Auditioning for Into the Woods
A great Into the Woods audition shows the casting team that you can sing a sophisticated score accurately and act while you do it.
- Prove you can handle the music. Choose a song that shows pitch accuracy, rhythmic precision, and clear diction. Legit or contemporary musical theatre both work for Into the Woods. What matters is musicianship.
- Tell a story. Know who you’re singing to and what you’re trying to get. (Our guide on how to choose an audition song can help.)
- Show your comic timing. Nearly every role has comedy, even the dramatic ones. If you’re funny, let them see it.
- Think about your target role. A Witch needs power and bite. Cinderella needs a lovely lyrical line. Jack and Little Red need youthful energy. The Princes need swagger and a legit-leaning baritone. For Cinderella or Rapunzel, try our audition songs for sopranos. Witch hopefuls should check out our picks for belters, and the Baker’s Wife pairs well with our list for altos.
- Skip the show’s own songs, unless asked. Most directors would rather hear something else. Sondheim from another show, or another wordy, character-driven piece, is a great fit.
- Be ready for callbacks. You’ll likely sing material from the show, so get familiar with it now. Here’s what to expect at musical theatre callbacks.
Producing Into the Woods in Community Theatre
Into the Woods is musically complex, but it’s not overly demanding on the technical side. With the exception of the scenes that take place in the three houses (the beginning of both acts), the majority of the action can take place on one unit “woods” set, with actors coming and going.
Daniel actually directed this show with middle schoolers several years back, and he decided to stage it on platforms outside, near the woods by the school. It made for a very cool atmosphere!
Cast
Prioritize singers who can hold a part and actors who can balance comedy and drama. The Baker, the Baker’s Wife, the Witch, and Cinderella anchor the show, so cast them first. Jack and Little Red are fantastic opportunities for strong teen or young adult performers. Decide if you’ll combine any roles. Wolf/Cinderella’s Prince is a classic pairing, as is the Narrator/Mysterious Man.
Music
Budget more music rehearsal than you think you need. The score is intricate, and the ensemble passages take time to lock in. MTI offers the standard Tunick orchestration plus KeyboardTEK, OrchExtra, a Performance Accompaniment Recording, and RehearScore, which can help a smaller theatre fill out the sound or rehearse without a full band.
Set and Staging
Your woods can be anything from realistic trees to a few ladders and fabric. What matters is fluid movement, because characters are constantly crossing paths. You’ll also need to plan the tower, the beanstalk, Granny’s house, and Cinderella’s mother’s tree. MTI’s Community Marketplace lists rentable sets and props, or reach out to other theatres in your area who have produced the show.
Puppets, Props, and Effects
Milky White, the hen, the harp, the slippers, Rapunzel’s hair, and the Giant’s footsteps are all part of the plot. The Giant is usually a voiceover and sound design, so test the sound well before tech week.
Decide early whether Milky White is a puppet, a prop cow, or an actor in costume. Milky White needs to be able to fall over, “eat” the potion items (cape, hair, slipper), and seemingly run off on his own. But most shows don’t make it a requirement for Milky White to be overly realistic!
Costumes and Makeup
The Witch’s transformation is a tricky one, because it happens onstage and often involves taking off facial prosthetics. She will need a good onstage quick-change plan and plenty of rehearsing. Doubled roles will also need to take costume changes into account.
The show is not set in a particular time frame, but rather think “fairy-tale” style. Actors are constantly moving on and off stage and handling props, so they will need to wear something they can move easily in.
The Baker’s Wife is visibly pregnant at the end of Act One, so you’ll want some stomach padding, and there’s a scene where she pulls out a chunk of Rapunzel’s hair, so that wig will need a detachable piece. Speaking of Rapunzel’s hair — the Witch cuts it, so she’ll likely need two wigs, or a wig that transforms.
Is Into the Woods a Good Choice for Community Theatre?
Yes, if you have the singers. Into the Woods is beloved, well known, easy to market, and offers a wonderful spread of roles across ages, including meaty parts for adults over 40. It’s also flexible: you can stage it simply, and dance skill isn’t a requirement.
Before you choose it, make sure you have:
- A strong Witch, Baker, Baker’s Wife, and Cinderella who can sing Sondheim accurately
- Actors who can play both broad comedy and real heartbreak
- A music director with time for detailed rehearsal
- A plan for the puppets, props, and Giant effects
- An audience that’s ready for a darker second act (MTI rates it PG-13)
As I mentioned, younger casts have the option to license Into the Woods JR., a 60-minute adaptation of Act One with all the favorite characters, and it’s a great introduction to Sondheim.
Into the Woods has been a big part of our personal theatre journey, with family members involved in three different productions, so far! The show reminds us that wishes come with consequences, that no one is alone, and that the stories we tell matter. It’s funny, poignant, and a joy to watch or perform!
What would you sing for an Into the Woods audition? Which role is your dream part? Tell us in the comments!
