Into the Woods: Who needs Broadway, when you’ve got the goods right here?

Theatre Group Asia’s ‘Into the Woods’ runs until Aug. 31, 2025 at Samsung Performing Arts Theater at Circuit Makati.

A COUPLE of things struck me when I watched Theatre Group Asia’s (TGA) much-awaited production of the Stephen Sondheim/James Lapine musical Into the Woods at Samsung Performing Arts Theater in Makati last Aug. 10. It was a Sunday night, and the place was packed to the rafters.

One, it was cute that many people dressed up for a night at the theater. Many ladies were in long dresses (although I spotted a girl who paired hers with Hokas—hurray for comfort as well as style). Then again, since tickets were not that cheap, it was entirely possible that most of this crowd had already seen this or some other musical abroad. I couldn’t help thinking: Would these guys have spent as much for a local—as in, Filipino—production? Would they even consider it?

Two, although only two groups of people were late and nobody tried to take pictures— ushers walked around with signs announcing how taking photos or videos was strictly prohibited—I was still aghast at the latecomers. I mean, you already know what Manila’s traffic is like, guys, even on a Sunday. Lea Salonga, the Philippines’ national treasure of a theater talent who was playing the Witch in the show, has unabashedly expressed disdain and irritation for people who still do this, here and abroad, and disrespect the art form, although Pinoys admittedly have a gift for this special discourtesy. To latecomers, that night, and, I’m sure, for coming nights, as the show runs until August 31 (although tickets are sold out): Please know that no amount of mumbling “excuse me” or “sorry” as you step on toes en route to your seats is acceptable. You are a distraction and a bother. Please come on time.

The Witch’s entrance in ‘Into the Woods’ (Photo by Mark Alvarez)

First written in 1986, and debuting on Broadway in 1987, this dark comedy musical on the Brothers Grimm fairytales turns the world of illusions on its head, throwing a monkey wrench into every happy ending. Spoiler alerts: People die, there aren’t really any happily ever afters, and hearts break. Still, it was ingenious of Sondheim and Lapine to mine the valuable, complex lessons adults could get from these stories—I’m pretty sure all women eventually realized that their early Prince Charmings were actually dicks, for example. The show won three Tony Awards in the same year Andrew Lloyd Weber’s Phantom of the Opera was the musical to beat. This was further reinforced by the Disney film of the same musical, released in 2014, directed by Rob Marshall, and traipsing away with Oscar and Golden Globe nominations.

Most big musicals have their flagship role, often given to a stage superstar who can make or break a show with a signature song; think Grizabella in Cats belting out Memory while we all cry. For Into the Woods, the Witch is that role, originated on stage by Bernadette Peters, and inhabited for the hit movie by Meryl Streep. Salonga first performed the role for the Singapore Repertory Theater in 1994, when she was only 23. I didn’t see that production, but I can only imagine how much richer her portrayal has become with maturity and motherhood. Sharing the stage with her son, Nic Chien, who plays Jack with equal parts teenage bravado and innocence, must have been quite the bonus, as Nic has secured a chunk of his mom’s stage presence and pipes.

Lea Salonga as The Witch and Joreen Bautista as Rapunzel in ‘Into the Woods’ (Photo by Mark Alvarez)

(Fun fact: Salonga also recently shared top billing with the great Bernadette Peters in their musical revue, Stephen Sondheim’s Old Friends, in London and on Broadway. Imagine that!) 

Even under an elaborate first costume weighed down with a bustle, lots of hair, and a mask, Salonga managed to let her perfect voice soar, but still tug at heartstrings when she begged her daughter Rapunzel to Stay With Me and stop dreaming of that flaky prince: Don’t you know what’s out there in the world?/Someone has to shield you from the world/Stay with me…/Stay at home/I am home/Who out there could love you more than I?

Inevitably, the concern in watching a production topbilled by Lea Salonga is whether or not she might blow out of the water the people she shares scenes with. Also, as my friend and boss Thelma noted, you can tell who truly honed their craft in English-language theater, or who at least tried to work on their accents. I know it sounds like a case for this whole pronunciation business, but the fact is, the difference was evident. Was it jarring sometimes? Yes. Did it ruin it for me, though? No, not enough; it ultimately didn’t take away from the whole experience.

I’m happy to say most of the cast delivered in the ensemble with Salonga. I have loved watching Nyoy Volante since he was a revelation for me in Atlantis Theatrical Entertainment Group’s Kinky Boots in 2017, playing Simon/Lola, outrageous as the drag queen but absolutely poignant in a suit, as a man. (That was directed by the late, much-missed Bobby Garcia, one of the founders of TGA. Although Into the Woods director Chari Arespacochaga did a good job, one inevitably wonders again how this would have turned out in his hands.) I am so glad Volante found his niche in musical theater and dug his heels firmly in, making him easily one of the best stage musical singers and actors in town. Throw him in there with his wife, the luminous Mikkie Bradshaw Volante, and you had genuine chemistry, without taking away from their individual powers; how else could the Baker’s Wife have deadpanned “I think I’m in the wrong story” so ironically?

Arielle Jacobs as Cinderella in ‘Into the Woods’ (Photo by Mark Alvarez)

Filipino-American Broadway performer Arielle Jacobs was brilliant as Cinderella, all heart and lots of ditziness without being irritating. Her exquisite soprano voice rang so true as she sang wisely to Red Riding Hood: Sometimes people leave you/Halfway through the wood/Others may deceive you/You decide what’s good/You decide alone/But no one is alone.

Speaking of Red Riding Hood, she was played by young theater veteran Teetin Villanueva, who served up spunk and attitude. Her Red Riding Hood was a girl power icon in braids—that switchblade was a cool touch—who also happens to sing like an angel. I once shared the stage with Teetin in Floy Quintos’ Collection for Dulaang UP, and I am over the moon that this hardworking, ridiculously talented sweetheart is reaping recognition in a world-class production. 

So that’s basically what it’s all about—the privilege of having world-class productions staged by Filipinos, and presented in the Philippines. Why bother with New York and risk getting picked up by ICE at this point? I hope to the heavens that TGA continues to fulfill its mission, and I was very happy to see a booth announcing A Chorus Line as a future presentation for 2026. This legendary show turned 50 this year, and it would be wonderful to see all those interesting characters played by Filipinos, whether based here or abroad. 

In terms of talent, we all know we have the musical and acting chops. And as has also been proven, there’s a local audience, no doubt—we just hope they all learn to come on time!