In the age of Disneyfied myths and tales, 20 years since its debut on Broadway, Stephen Sondheim’s classic piece Into the Woods would seem all the more resonant for its translations of fairy tales and fairy-tale endings. Albeit a story revolving around fables for children, Into the Woods, in veritable Sondheim fashion, is characterized by dark undertones, self-awareness and certain morbid humor from the very start, grounded in a more melancholy, disillusioned, if not probable, interpretation of ever after.

Into the Woods ties in the stories of Cinderella, Rapunzel, Jack and the Beanstalk, and Little Red Riding Hood, and references other tales like Snow White, through the central story of the baker and his wife who desperately want a child. Unfortunately, the couple is cursed with childlessness by a witch and must retrieve various items for her in order to break the spell—namely, a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. All of these, of course, they inevitably acquire from the other fairy-tale characters.

The first act of the musical plays out the intertwining stories of the characters to a happily ever after for everyone—including the witch. This long first act actually feels so complete—with final chorus number and all—that in some audiences, people have actually left thinking it was the end of the play. The second act, in fact, is the story’s hitch.

Opening with the characters having achieved their happy endings—Cinderella married to the Prince, Rapunzel free from the tower and together with her prince, Jack and his mother rich from the giants’ treasure, the witch transformed back into a lovely although powerless woman, and the baker and his wife finally with child. However, in this ever after, the realities suddenly set in—both Cinderella and Rapunzel grow apart from their princes (who, incidentally, happen to be brothers that compare notes about their lives and their wives), the baker and his wife start having marital problems, and the wife of the slain giant comes down from a second beanstalk to kill and terrorize the land in revenge for her husband’s death.

Here, the real issues of the story start to come. Several themes come into play: growing up, parent and children relationships, husband and wife relationships, accepting responsibility, rethinking morality, dealing with consequences of getting what you wish for, and figuring out if we really want what we want in the first place. Such themes actually feel more contemporary than timeless, as often times the way they are dealt with is in a surprisingly contemporary manner (Rapunzel: “You locked me in a tower for 14 years, and then blinded my prince, and then sent me off to the desert where I bore twins, thanks to you I can never be happy!” Witch: “I was trying to be a good mother!”)

That said, Into the Woods is hardly an easy production to stage. Given to little subtlety, Sondheim chooses to explore his themes through songs rather than action, earning it mixed reviews from critics. On the one hand, the songs in and of themselves are witty and well-worded on many occasion, and easily speak to greater human experiences that each and every person can relate to; on the other hand, the plays sometimes lends itself to a kind of preachiness that some would feel unacceptable when the rule of thumb in storytelling is “show, don’t tell.”

Hence, it seems a good choice that in the New Voice Company’s production of Into the Woods, directed by Rito Asilo, the lead roles—the ones which “tell” the lessons most—are given to some truly able (and veteran) actors on the local stage. Brilliant in their handling of the longer, drawn-out occasions of emotion, or sharp, punctuated pieces of humor in song, lead cast Michael Williams (Baker), Cathy Azanza (Cinderella), Joaqui Valdes (Jack), Menchu Lauchengco-Yulo (Baker’s Wife), Juno Henares (Stepmother), Jamie Wilson (Cinderella’s Prince), and Lynn Sherman (Witch) are very memorable in their roles, able to draw us into the moments and take us into the scene with their strong presence. Also, notable as Little Red Riding Hood, Julie Abueva, who played the role on opening night, holds her own and manages to pull off much of the sarcasm and adult humor that the character is given to. The set is minimal and the attention is given to the music and the performance—where it belongs. In the end, New Voice’s offering is indeed able to draw us in and take us into that world of fairy tale, then drag us, with as much brutality as it does its characters, back out to reality.

Into the Woods shows at the Music Museum every Friday and Saturday at 8pm until December 8. Tickets are available at Music Museum or through the New Voice Company at nvc@pldtdsl.net.