TGA’s ‘Into the Woods’ and the fragility of storytelling in the Philippines

Once upon a time, fairy tales offered a clear path, a promise of "happily ever after." But what if those narratives, so often rewritten, no longer lead us home? This profound question lies at the heart of Theater Group Asia's (TGA) upcoming production of Stephen Sondheim and James Lapine's beloved musical, "Into the Woods," which aims to reframe its cautionary tales through a uniquely Filipino lens.

Set to open on August 7 at the Samsung Performing Arts Theater (S-PAT) for an impressive 24-show run, demand for this highly anticipated production has been extraordinary. Tickets famously sold out within a mere two hours of release, prompting the immediate addition of more dates to accommodate the overwhelming interest.

The stage will be graced by an all-Filipino, star-studded cast, featuring theatrical icon Lea Salonga as the enigmatic Witch. She's joined by a roster of remarkable talents including Arielle Jacobs, Eugene Domingo, Josh Dela Cruz, Nyoy Volante, Mikkie Bradshaw-Volante, Nic Chien, Joreen Bautista, Mark Bautista, Teetin Villanueva, Tex Ordoñez-De Leon, Sarah Facuri, Kakki Teodoro, Carla Guevara Laforteza, Jamie Wilson, and Rody Vera. Ima Castro, Niño Alejandro, Jillian Ita-As, and Jep Go will serve as covers.

Director Chari Arespacochaga shared the team's vision to explore the musical through the "lens of the Filipino experience." She noted, "As a people, we are storytellers. We build community by sharing stories. And I think that was our main sort of way into it." Artistic director Clint Ramos added that the musical's core themes resonate deeply with Filipino history, promising audiences will "recognize themselves."

At its heart, "Into the Woods" is a masterful deconstruction of fairy tale logic. While Act I weaves together familiar narratives from "Cinderella," "Jack and the Beanstalk," "Little Red Riding Hood," and "Rapunzel" – driven by a Baker and his Wife seeking to break a curse – Act II boldly dismantles the fantasy. It delves into the unexpected consequences of wishes, introducing themes of grief, blame, loss, and community fracture, prompting audiences to reflect on how stories can both guide and fail us.

This reimagining becomes particularly poignant in the Philippine context. The creative team repeatedly hinted at the production's grappling with the "Filipino condition," a powerful phrase suggesting a mirror held up to a nation where history can be contested and truth mutable. Lea Salonga herself observed that "Now in 2025, it doesn’t seem like the world is very innocent at all… and so what does that mean?"

In this telling, the "Woods" – described by Sondheim as a symbolic realm of the unconscious where rules break down – transform into a metaphorical terrain for the Philippines' own contested narratives. One might ponder if the Witch represents a figure hardened by societal challenges like diaspora or state neglect, or if the Giant symbolizes systemic violence so vast it remains unnamed. Even the Wolf could take on new meaning in a landscape where memory and collective forgetting intertwine.

The musical’s powerful messages, particularly through songs like "No One Is Alone" and "Children Will Listen," shift the focus from individual desire to collective responsibility. The central question evolves: what stories do we choose to tell, and how do they shape the next generation? This resonates profoundly in a country still navigating its past, urging contemplation on what parts of history are passed down, edited, or even erased.

Guiding this ambitious reinterpretation is a stellar creative team: Chari Arespacochaga (director), Gerard Salonga (music director), Ohm David (set design), Raven Ong (costumes), Cha See (lighting), and Megumi Takayama (sound). Under the artistic direction of Clint Ramos, the team also includes Cecile Martinez, Manman Angsico, GA Fallarme, and Aina Ramolete.

Beyond the immediate spectacle, TGA emphasizes artistic inheritance. Artistic director Clint Ramos revealed that all engaged artists are contractually obligated to conduct free master classes, ensuring the transfer of knowledge and expansion of the rich artistic landscape. This production of "Into the Woods" is not just a revival; it's a compelling reminder that storytelling is a potent force, never neutral, and essential for remembering the past to shape a more informed future.