Performing Arts
Into the Woods Proves Filipino Theater Is Ready for the Big Leagues
Here's how Theater Group Asia gave Sondheim some Filipino flair.
by Leana Vibal
Published on Aug 12, 2025
(SPOT.ph) Into the Woods is undoubtedly the hottest ticket of 2025, selling out within two hours of ticket sales opening. When it announced an extension, those tickets were gone in minutes—a testament to the growing anticipation around this major production.
And no one is surprised. It is, after all, a Stephen Sondheim musical, and one of his most popular ones at that. Top-billed by a cast of theater and big screen bigwigs, with no less than Lea Salonga taking on one of the most vocally challenging parts in all of theater, this local run of Into the Woods seemed destined for success—a high bar of expectations to clear.
But it still managed to go beyond expectations, claiming its spot as one of the year’s finest productions. Beyond the obvious draws, what made this Into the Woods particularly great is, put simply, Filipino talent.
Into the Woods is a production by Filipino artists for the Filipino audience.
All throughout Into the Woods' press run, Theater Group Asia (TGA)—the folks who also brought us Request sa Radyo in 2024—emphasized that this will be "a deeply Filipino production by Filipino artists, for Filipino theater fans." They were deliberately secretive about the specifics, hinting only that you’d feel it the moment you stepped into the theater.
They were right. From the first few notes to the curtain call, the show weaves in Filipino sensibilities without being heavy-handed. Thanks in part to how the performers made these typically Western fairytale characters come to life, bringing that sense of humor and warmth we immediately associate with our Filipino mothers, siblings, lovers, and friends—further proof of the universality of the Sondheim story.
Into the Woods is an ensemble show in every sense—every role must shine. No one should fade into the background or needlessly dominate the stage. Having the Lea Salonga as the witch posed a challenge—they needed to find performers who could hold their own and not get lost in the shadows of one of the most talented thespians in the world. Lucky for TGA, there's no shortage of talent here.
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Lea Salonga dones a Rajo Laurel gown as she returns to her real form in Act 2 of Into the Woods. Photo screenshot / Facebook Theater Group Asia.
Case in point, we have the ever-brilliant comedic star Eugene Domingo as Jack's Mother. The actress's comedic timing and perfect delivery gave the struggling matriarch she's playing some much-needed vitality. Domingo's take made Jack's Mother into the quintessential Filipino mom—quick-tempered, perpetually nagging, yet fiercely protective—without losing the spirit of the original character. She was so real that, at times, you half-expect her to pull out a slipper and throw it at Jack, which is played by Nic Chien.
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Eugene Domingo says she channeled the different mothers she knew to bring Jack's Mother to life. Photo Screenshot/ Facebook Theater Group Asia.
There's also power couple Nyoy Volante and Mikki Bradshaw-Volante, who plays the Baker and his Wife. As the actors who spends the most stage time with Salonga's character, the Volantes certainly had their work cut out for them—but their real-life dynamic and vocal compatibility equips them with a solid foundation. Bradshaw-Volante takes a bit more time to truly find her light among such a large, glittering, and overwhelmingly talented cast—but when she found it, especially during her character's standout number ("Moments in the Woods"), it was like seeing a rare flower in full bloom.
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Another sensational performance comes from pop heartthrob-turned-thespian Mark Bautista, who should consider adding more comedic roles to his repertoire. Bautista plays Rapunzel's Prince with a delightfully exaggerated, almost cartoonish presence—exactly what the role calls for. His brotherly dynamic with Josh Dela Cruz, who plays the other half of the himbo prince duo, lights up the stage every minute they're on it. Their scenes together were always a treat, and their rendition of "Agony" was, without question, one of the show’s most memorable numbers. The two capture the essence of immature, dim-witted princes so perfectly, leaving us all wondering almost to the point of mild concern.
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Josh Dela Cruz and Mark Bautista bring comedic relief to Into the Woods. Photo Screenshot/ Facebook Theater Group Asia.
And who could forget the “children” — Teetin Villanueva and Nic Chien—who, despite being 29 and 19 respectively, channeled both the wide-eyed wonder and that youthful bravado we all had back when we thought we knew everything.
Villanueva was absolutely magnetic, commanding attention anytime she was on stage. "Tiny but terrible" perfectly captures her performance—fierce and confident with every note. Her voice never faltered despite the songs requiring higher octaves than her usual. Here’s hoping she has an endless supply of ginger tea to see her through the month-long run, as losing Villanueva even for just one show would be a loss for audiences.
If anyone was looking for proof that Chien is only a nepo baby, they're not going to find it in Into the Woods; his performance proved his theater chops are tested and true. Playful, mischievous, and brimming with boyish braggadocio, he brought a believable teenage energy to the role—complete with the wide-eyed optimism and occasional overconfidence that makes Jack endearing. While the part isn't a particularly demanding one, Chien still offered a glimpse of the talent and charisma he can bring to the stage. With this performance to start, it's exciting to see him step out of his mother's shadow and make a name for himself.
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Nic Chien is stepping outside his mother's shadow as he brings to life Jack in Into the Woods. Photo Screenshot/ Facebook Theater Group Asia.
There's no question Arielle Jacobs is a perfect fit for the role of Cinderella. Her crystal clear vocals, captivating stage presence, and graceful movement check every box for the part. But perhaps, as this is her first time exploring her heritage on stage, that elusive but distinct Filipino-ness hasn't quite settled in yet.
Her Cinderella met all the traditional requirements of the character, but in a production that wanted to highlight the Filipino spirit, we found ourselves wishing more of that trademark Filipino warmth and quiet resilience. Into the Woods inherently presents the opportunity to reimagine Cinderella beyond the Maria Clara mold—as a Filipina with agency, grit, and dreams—but Jacobs’ portrayal, while polished and sincere, leaned toward the familiar tropes. Still, Jacobs was a wonder to watch, and with time to immerse herself in Filipino culture further, one can easily imagine her Cinderella evolving into a richer, more distinctly Filipino portrayal.
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Arielle Jacobs shined as Cinderella. We're excited to see her evolve the role of Cinderella through more runs of Into the Woods. Photo Screenshot/ Facebook Theater Group Asia.
Overall, TGA assembled a powerhouse cast that truly earned their spotlight. Even the supporting cast—Joreen Bautista’s ethereal, innocent Rapunzel, Carla Guevarra-Laforteza’s sharp-tongued Granny and commanding Lady Giant, Kakki Teodoro and Sarah Facuri’s wickedly funny and fab stepsisters, Tex Ordoñez-De Leon’s chaotic yet poised stepmother, Rody Vera’s enigmatic Mysterious Man, and Jamie Wilson’s bumbling yet sly steward—held their own with memorable turns.
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Carla Guevara-Laforteza as Granny in Into the Woods. Photo Screenshot/ Facebook Theater Group Asia.
As the old theater adage goes, there are no small roles, only small performances; there were no small performances here. Whether they gave a hilarious and well-timed one-liner, a perfectly pitched vocal run, or a brilliantly delivered monologue, each person brought a distinct spark to the stage, enriching the storytelling and adding layers of color to Into the Woods. Their moments provided texture and rhythm, moving the larger arc along, showcasing one of the production’s core tenets—the strength of a true ensemble.
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The visual spectacle that is Theater Group Asia's Into the Woods 2025:
A talented cast can shine on its own, but it’s the direction and the oft-unseen work of the backstage crew that transform strong performances into a single, cohesive storytelling experience. At the helm is veteran theater director Chari Arespacochaga, supported by an equally formidable creative team: Gerard Salonga as music director, Ohm David on set design, Raven Ong for costumes, Cha See on lighting, and Megumi Katayama handling sound design. In case it's lost on you, what TGA managed to do is assemble the Avengers of theater production.
True to their promise, the moment you step into the theater, you know this isn’t your run-of-the-mill tour—it’s a local staging with Broadway-caliber polish. David, See, and Ong cleverly “Filipinize” Into the Woods, weaving in visual cues that ground the story and make it feel more gubat than woods. Not literally, of course—but one glance at the Capiz window–clad set makes it clear they’ve traded the quaint Western fairy-tale village for something that recalls a Spanish-era, art-deco home facade.
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The set of Into the Woods is heavily inspired by Spanish-era, art deco homes. Photo screenshot / Facebook Theater Group Asia.
Over the musical's three-hour-long runtime, more of these Filipino details emerge: a carriage that looks like a kalesa-jeepney hybrid, the Sari-Manok-clad giant's harp, and the Manchuca-tiled flooring. These elements make the Woods stage look like it was pulled straight from Lola Basyang's storybook.
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Ohm David's set design was playful and a creative reflection of Filipino design sensibilities. Photo Screenshot/ Facebook Theater Group Asia.
Ong extends this visual to the costumes by incorporating Philippine textiles into the garb. You find touches of different fabrics like the Abra Binakul vest the Baker wore, or Cinderella's Inabel apron. Even the silhouettes nod to tradition, with Cinderella’s butterfly-sleeved ball gown evoking Flores de Mayo pageantry. You also have the Mysterious Man looking more like a classic ermitanyo, and the Witch in Act 1 like a mambabarang. It's these little easter eggs that make TGA's Into the Woods unmistakably Pinoy.
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Cinderella's costume looks like she's straight out of a Flores de Mayo parade. Photo Screenshot/ Facebook Theater Group Asia.
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Raven Ong incorporated Filipino textiles and silhouettes to bring a distinctly Filipino touch to Into the Woods. Photo Screenshot/ Facebook Theater Group Asia.
While there's not much they could (or should) change with Sondheim's music, the production made it come alive in the grandest way possible through the musical collaboration of Salonga and Katayama. Every night, Salonga and his Filharmonika Orchestra perform live—not from the usual orchestra pit, but right on stage alongside the cast. This bold choice turns the musicians into co-stars, highlighting that the music is as much a character as anyone else, which is especially true in a Sondheim production. Katayama’s immersive sound design wraps the audience in every crescendo and beat, making you not just hear the score, but feel it resonate in your seat.
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Why we need more of Into the Woods
We have to admit that we expected more localization than what we got. At first, those small nods felt too small, almost like calling this a “Filipino” production of Into the Woods was more marketing than reality. We would’ve loved to see them push it further—maybe even sneak in a few Tagalog lines, but that’s likely off-limits under the Sondheim estate’s strict licensing terms.
Still, in the spaces where they could play, TGA went all out. Not once during the entire course of the show did we feel shortchanged on the ticket price, and there was never a hint that the production had to cut corners to save on costs. This was a show bankrolled by people with deep pockets—and they made sure you saw every peso of it onstage.
That's not to say that TGA had an endless well of money to bring this show to life—but by the looks of what's onstage we're fairly certain it's still bigger than most Filipino productions. Local creatives have always been able to pull off brilliant work with whatever they’ve got, and while that’s impressive, it can sometimes veer into glorifying resilience when it shouldn’t have to.
TGA's Into the Woods set out to prove that Filipino talents and productions can be world-class—not because we needed validation, but to push our theater scene forward and ride the wave of its current reawakening. By going all out on production and casting, they gave our thespians and creatives room to play, experiment, and go for broke. More importantly, it gave audiences a taste of what local theater could be.
If anyone’s still questioning why the arts need funding, this is the show to see—not because talent needs money to exist, but because audiences deserve to see our stories, talents, and creativity elevated to its fullest potential.
Into the Woods runs until August 31 at the Samsung Performing Arts Theater in Circuit Makati. Tickets are sold out. For more information, visit Theater Group Asia's Facebook page.
Leana is Spot's go-to for Arts & Culture and Things to Do. On any given day, she’s either glued to her screen—or gliding underwater like the mermaid she swears she is. Contact: leana@spot.ph
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