PERRY—During my favorite time of year, I love all kinds of dark and twisty tales. Stephen Sondheim and James Lapine’s Into the Woods is a mix of familiar fairy-tale characters with a very Grimm twist to each character’s story. Heritage Theatre’s production, under Director Katie Adams, offers an enjoyable evening of community theatre, with some real standout performers and delightful musical moments.
Editor’s Note: Production Photos have not yet been received by UTAJ. When they are, they will be added to this review. Photos can be provided through this form.
The story revolves around a curse placed on a Baker (W. Derek Hendricks) and his Wife (Breanne Hendricks) by the Witch, that keeps the couple childless. In this production the Witch, played by Cari DeCoursey, is a standout performer. She brings strong vocals to the demanding score and manages clear enunciation, even when she has a huge nose and chin prosthetic deforming her features before her spell is broken and her beauty is restored. I was impressed by DeCoursey’s vocals and the emotional connection she establishes with her adopted daughter Rapunzel, played by Megan Keller, who has powerful vocals that oscillate between lovely and purposefully annoying. Their duet in “Stay With Me” was a standout number showing a complicated mother/daughter relationship.
Allison Montgomery’s Little Red Ridinghood also made a strong impression, with solid vocals, but particularly excellent comedic timing. Little moments like sneaking food from the Baker and answering questions with a mouth full of cookie were very funny. The scene where the Wolf (Steven Carter) swallows Red, and the Baker has to recue her, was well directed by Adams. A scrim-covered frame of a house covers the scene and is lit so the audience can see through the wall to the Wolf inside Grandma’s bed. Carter’s pathetic howls of pain after being sliced open were very funny. Montgomery also showed great character growth in Act 2 when Red returns with a new Wolf cape on her shoulders and a knife in her hand. She was fiercer version of herself, but still landed lots of comedic moments.
Of course, the song most people know and remember if they have ever been Into the Woods, is “Agony,” the duet between prince brothers about who has the more lamentable love life. Steven Carter, switching Wolf ears for the robes of Cinderella’s Prince, sings opposite Dillon Stewart who plays Rapunzel’s Prince. Their exaggerated competition over whose romantic suffering is greater was fantastic, particularly when they stood upstage on the rocky platform, clutching hands, eyes closed, as they mimed a knife plunging into their chests as they cry out in “Agony.”
Another humorous Grimm moment highlighted Cinderella’s stepsisters Florinda (Kirsten Bone) and Lucinda (Allie Scanlon) as they attempt to squeeze into Cinderella’s slipper at any cost. Each actress found small comic moments throughout the show that drew my eye and made me laugh.
Charming’s exaggerated gag reflex was another amusing layer to the Stepsister’s slipper scene. Carter’s performance as Cinderella’s Prince, as well as the Wolf, was vocally solid. However, there were some directorial choices for his character that left me wishing for a slightly different interpretation. When Cinderella, played by the lovely Bella Branson, confronts Charming over his infidelity in the woods, Carter’s Charming seemed truly remorseful and heartbroken over the split. When the Prince is arrogant and entitled, it is easier to understand Cinderella’s disillusionment, but Carter’s more sincere, penitent approach makes Charming quite likable, even moments after cheating on his wife, which lends the scene a different emotional weight. It’s an interesting directorial interpretation, but it seems to soften the moment when I wanted to hate Charming, and instead I was left just feeling sad for both of them and the loss of their fairy-tale romance.
There are other quiet moments that give the production emotional depth. Barry Carter, credited as both the Narrator and Mysterious Man, shares a touching father-son moment with W. Derek Hendricks’s Baker. These scenes help ground the musical’s increasingly tangled story in the human relationships at its center. The Baker and Baker’s Wife lead the central journey with the wishes and difficult choices that drive the plot.
Director Katie Adams keeps the staging relatively simple, with a tower on one side of the proscenium and a large tree occupying the other. The set provides enough visual context to establish the fairy-tale world without overwhelming the action. That restraint works well for the space and a musical in which the singing, storytelling, and interactions among the characters are the primary attractions. Music director James Herndon guides the production through Sondheim’s distinctive score, while costumer Brianna Taylor put together a good, cohesive design that establishes the familiar identities of these fairy-tale figures.
Into the Woods is a classic twist on all the fairy tales we grow up with, and has truly unique and meaningful commentary on what that growing up actually means. Happily Ever After is often far more complicated than we ever imagined as children. There is a lot of darkness under the familiar surface, which makes it an excellent choice for the Halloween season, and this production offers a pleasant evening of community theatre and is worth venturing out to see.
MORE INFO: Into the Woods is currently playing at the Heritage Theatre (2505 S Highway 89, Perry, UT 84302). Performances are held at 7:30 PM on Fridays, Saturdays, and Mondays, with 2:00 PM matinees on Saturdays through October 31st, 2026. Tickets typically range from $11 for children to $17 for adults. For the most up-to-date schedule, performance details, and official ticketing, visit the Heritage Theatre website: https://www.heritagetheatreutah.com/
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