The Sarasota Players takes audiences 'Into the Woods'

What happens after “happily ever after” …? Stephen Sondheim and James Lapine’s “Into the Woods” provides the answer. This spellbinding musical turns classic fairy tales into a thought-provoking exploration of dreams, consequences and quotidian reality. 

Director Brian Finnerty brings a fresh vision to this beloved musical at The Sarasota Players. Finnerty’s approach thinks outside the Gingerbread House with inventive storytelling, dynamic staging and a diverse cast. In the following conversation, he discusses his creative process, the show’s powerful themes, and what sets this production apart.

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Do you have any favorite characters in the musical?

Not really! All the characters have such strong and individual stories, so it’s hard to narrow it down to one. But José Santana, who plays our Witch, has been a highlight. They’re a nonbinary performer with an incredible vocal range, and they bring 110% to everything they do. Finding nuanced moments in the Witch’s character has been such a rewarding challenge. Scott Keys plays our Narrator. Working with him has also been a full-circle moment for me. Scott was my teacher at Booker High School’s VPA program, and he directed me when I played the Baker in my senior year. Now, I’m directing him, and it’s pretty special.

What’s Vera Samuels' role?

She plays the Baker’s Wife — and it’s a departure from what people usually expect from her. Vera typically plays strong, intense roles. Here, she’s showcasing a more vulnerable, heartfelt side. Her maternal connection adds so much depth to the role, and I think audiences will love seeing this different facet of her talent.

This show balances fairy tale fantasy with real-life consequences. How do you bring that out your direction?

We’re setting the show in the home of the Narrator. When you walk into the theater, you’ll see a warm, lived-in space — a couch, a desk, an entryway table and a big green rug. But as the story unfolds, the forest starts taking over. Moss grows up the furniture, and as the Giant arrives, everything gets knocked over, making the once-cozy space unsettling. The characters eventually can’t sit down because the furniture is in disarray. That mirrors the show’s themes of disruption and unintended consequences.

“Into the Woods” draws on multiple fairy tales. How do you unify those disparate narratives?

Sondheim and Lapine already did an amazing job weaving them together. Our job is to keep the pacing tight so it never feels long. Act One moves at breakneck speed — the characters are on a deadline to gather ingredients before midnight, and the audience should feel their sense of urgency. I tell the cast to perform like they hear the constant sound of an invisible ticking clock pushing them forward.

This musical explores morality, desire, and consequences. It really made an impact in 1986. How does it resonate with contemporary audiences?

Powerfully! Every time I revisit this show, I find something new that speaks to different stages of life. Act One offers the fairy tale endings we all know; Act Two shows that "happily ever after" isn’t always what it seems. We joke that Act One is Walt Disney and Act Two is the Brothers Grimm version. That shift is powerful because it mirrors real life. What we think we want isn’t always what we need.

The “Woods” are a character in their own right. How do you bring them to life?

We’re using real branches and trees, mounted on the walls behind the audience and backlit by Ethan Vail, our lighting designer. The set evolves as the story progresses — moss creeps up the furniture, and the floor starts to feel overtaken by nature. The audience will truly feel surrounded by the woods, emphasizing the show’s themes of the unknown and transformation.

How are you collaborating with music director Michelle Kasanofsky to integrate music and storytelling?

Musically, this is a notoriously difficult show. Michelle — along with Heather Weiskerger, our rehearsal music director — has done an incredible job making sure the cast is vocally strong. They’ve helped refine moments where the music drives the emotion and where we need to take a breath. It’s been a fantastic collaboration.

What do you hope audiences will take away from this production?

Representation matters. We’re breaking away from the idea that princes must be tall and chiseled, and princesses must be blonde and perfect. Everyone deserves to see themselves in these stories. Beyond that, the show teaches an important lesson: Appreciate what you have while striving for more. Wishing for something doesn’t guarantee happiness — it’s about finding contentment in the journey.

Final thoughts?

This production has been a joy. The cast is strong; the creative team is stellar; and I can’t wait for audiences to experience our take on “Into the Woods.”

Correction: This article has been updated to correct the spellings of Michelle Kasanofsky and Heather Weiskerger.