Arden’s latest Sondheim musical is a lively ‘Into the Woods’

As we descend into the bleaker second act of the Arden Theatre Company’s spirited production of Into the Woods, the corpses multiply. And a quartet of the show’s fairy-tale characters, taking comfort in community, join in one of the show’s breakout numbers, “No One Is Alone.”

It doesn’t require a big leap to analogize their challenges to those of our family, friends, and neighbors over the last two years. The emotions are recognizable, even if the philosophy, as expressed in Stephen Sondheim’s songs and James Lapine’s book, seems a bit pat. Or maybe it’s fairer to call it aspirational. We may have been isolated at times, but companionship was often – at least for some of us — just a Zoom call away.

The Arden’s producing artistic director, Terrence J. Nolen, who directs the show, calls Sondheim “one of my heroes.” This staging marks the theater’s 15th rendering of a Sondheim musical since its 1988 founding, and its second version of Into the Woods. Nolen describes the production as a response to the “collective trauma” of the pandemic, as well as a celebration of “our potential for renewal and connection.”

Nolen’s vision of the world of Into the Woods is stripped down and contemporary. There is little visual delight in James Kronzer’s spare set, where ropes substitute for trees, or Levonne Lindsay’s casual costumes. Kim Carson’s Witch, rocking a black lingerie-like gown and matching coat, gets the most distinctive look. Music director and orchestrator Ryan Touhey conducts and plays keyboards in a six-piece orchestra perched on a platform above the action.

The first act scrambles the stories of familiar fairy-tale characters, including Cinderella, Rapunzel, Little Red Ridinghood, Jack (of Beanstalk fame), two Princes, and that generic Witch. But its narrative is propelled by the efforts of a Baker (Ben Dibble, anchoring the show) and Baker’s Wife (Katherine Fried) to gather the ingredients necessary to break the curse of childlessness. Like many fairy tales, it’s a quest story.

Fertility, including the fecundity of Jack’s magic beans, is one of the show’s through lines. So is human fallibility. The first act is a Sondheim-Lapine version of Songs of Innocence and of Experience, in which the characters learn from their many mistakes. It’s a complete show in itself. Act II complicates and darkens the tale, as a raging giant intent on revenge stalks the land, sowing death, destruction, and misery.

At 2 hours and 45 minutes, Into the Woods may be a feast for Sondheim acolytes, but it’s something of a slog, too – no fault of this excellent ensemble of actor-singers. Under Nolen and Touhey’s direction, they do justice to the intricacy and wit of Sondheim’s lyrics and offer some wonderful musical moments to savor, including the catchy title number.

Ellis Gage, as Jack, is spectacular in his solo, “Giants in the Sky.” The two nontraditional Princes (Garrick Vaughan and Vanessa Sterling), paired with Cinderella and Rapunzel, respectively, wring the requisite comedy from their duet, “Agony.” And Carson, as the Witch, makes the gorgeous song “Last Midnight” truly transcendent.

“Into the Woods” is presented by the Arden Theatre Company on the F. Otto Haas Stage, 40 N. 2d St., through July 10. Masks and vaccination proof (or recent negative COVID-19 test) required. Tickets: $18 and up. Information: ardentheatre.org or 215-922-1122.