"Into the Woods" Musical Seeking Actors

A♭2–G4 — Baritone. A humble, anxious man who longs for a child and feels inadequate before the task. At first, he fumbles through quests, relying on his wife's cleverness, but beneath the hesitation lies genuine decency and heart. His journey is one of growth: learning to face loss, to stand on his own, and to embrace the responsibility of fatherhood. The Baker is not a bold hero, but a relatable everyman whose humor, vulnerability, and quiet courage form the show's emotional core.

F3–G5 — Mezzo-soprano (strong belt/character mezzo). Practical, witty, and driven, she is the true engine of the story. She longs for a family but also hungers for something 'more,' which leads her into moments of scheming, charm, and temptation. Her voice should carry warmth and intelligence, capable of quick, articulate patter as well as tender lyricism. She requires resourcefulness in both character & tone, with sharp humor and emotional depth that embody both the joy and the cost of desire.

G3–G5 — Soprano (lyric or light mezzo with soprano extension). A thoughtful young woman who longs for a better life yet questions what 'happily ever after' really means. Intelligent, observant, and often torn between desire and hesitation, she becomes a moral compass in the woods, learning to choose her own path. Vocally, she requires warmth and clarity—her voice is never just 'pretty,' it must carry the story with wit, vulnerability, and strength.

B2–F4 — Baritone (comic/lyric baritone range). Dashing, smug, and melodramatically romantic, Cinderella's Prince is a charming but shallow storybook royal who pursues women as trophies. He takes himself very seriously—swooning one moment, petty the next—which makes him hilarious to watch. Requires strong comic timing, broad physicality, and a resonant baritone/tenor voice.

B2–G4 — Tenor / youth tenor (boyish, chest mixed top notes). A poor farm boy on the cusp of growing up. Earnest, impulsive, and a bit naïve, but never cruel. Loves his cow Milky White more than anything—until he discovers there are giants in the sky. His journey takes him from childish innocence to painful maturity as he learns about bravery, loss, and responsibility.

B♭3–G♭5 — Mezzo-soprano/light soprano. The pragmatic center of Jack's small, precarious world. She's worn thin by worry (money, safety, the cow) but still radiates a particular, stubborn love: the kind that scolds because she cares. Comic in her exasperation, honest in her fear, she can turn from brisk, businesslike speech to a quietly vulnerable line in a heartbeat. She's not a caricature of poverty — she's someone who's learned to make do and who expects the same of her son.

B♭3–F5 — Mezzo-soprano. A spoiled young girl who is strong-willed, sharp, curious, and unafraid: she's the small motor of the story who learns, in one bright jump, that the world is bigger and more dangerous than she thought. Singly voiced and quick of foot, she's curious not helpless — brave enough to ask questions and clear enough in diction to make every discovery land.

B3–A5 — High Soprano (light, innocent, often high head voice). Sheltered and theatrical, Rapunzel is a bright, inquisitive late-teen whose sweetness masks a quick, now-scarred intelligence. She sings in a light lyric soprano; the part demands crystalline head voice, conversational phrasing, and the ability to flip from breathy wonder to clipped, defensive wit in a single line.

C♯3–E4 — Baritone (similar to his brother). The younger brother of Cinderella's Prince, Rapunzel's Prince is equally dashing, equally melodramatic, and equally absurd—just a little less polished. Where his elder brother struts, he blusters. His pursuit of Rapunzel is overblown with sighs, swoons, and grand declarations. He is competitive with his brother to the point of silliness.

F3–G5 — Mezzo-soprano/alto (huge character belt and dramatic low notes). The Witch is a sharp-tongued, fiercely protective woman who rules by fear and wit, hiding a bewildered, aching grief beneath theatrical bravado. She is neither villain nor saint but a moral wild card—caustic and controlling one moment, raggedly honest the next—using cruelty as both armor and confession. Musically she lives in clipped, speech-like rhythms and sudden belts that demand clean diction and dramatic weight.

Open Vocal Range. Minor Supporting Role. A drunk but well-meaning father.

D4–D5 — Soprano (ethereal/legato part). A gentle, ethereal presence who appears as a spirit at Cinderella's mother's grave. She embodies warmth, kindness, and quiet strength, offering Cinderella guidance and blessing. Brief but pivotal role; requires a pure, lyrical voice and a calm, maternal presence.

C4–A♭5 — Mezzo/High-mezzo (belt/high-head mix). Florinda & Lucinda: Cinderella's vain, self-absorbed stepsisters. Petty and shrill, they provide comic relief through their shallow cruelty and overblown antics. Their desperation to marry 'up' leads to grotesque comedy (even self-mutilation to fit the shoe). Broadly comic roles, often played as a contrasting pair or mirror images. Strong character acting, crisp diction, and physical humor are more important than vocal power. Featured ensemble.

C4–A♭5 — Mezzo/High-mezzo (belt/high-head mix). Florinda & Lucinda: Cinderella's vain, self-absorbed stepsisters. Petty and shrill, they provide comic relief through their shallow cruelty and overblown antics. Their desperation to marry 'up' leads to grotesque comedy (even self-mutilation to fit the shoe). Broadly comic roles, often played as a contrasting pair or mirror images. Strong character acting, crisp diction, and physical humor are more important than vocal power. Featured ensemble.

Voice-over. A powerful offstage presence, voiced by a woman with booming authority and clarity. She is grieving, vengeful, and relentless—seeking justice for her slain husband. Entirely spoken, her voice should feel larger than life, carrying both fury and sorrow. Symbolizes the consequences of the characters' actions.

G2–E4 — Bass/Baritone. A dual role: the Narrator is witty, detached, and authoritative—our guide through the fairy-tale world, until the story turns on him. The Mysterious Man is the Baker's estranged father: a ragged, elusive character who is both comic and poignant. He prods the Baker forward with riddles and half-truths, both frustrating and guiding him. Requires strong diction, dry humor, and the ability to shift quickly between polished storyteller and haunted outsider.

A3–F♯5 — Mezzo-soprano (sprechgesang). The mean-spirited stepmother of Cinderella. She keeps the household — and its reputations — under strict management, speaking with clipped precision and a practiced disdain that reveals more fear than malice. Play her as economical and exact: every consonant a small command, every gesture a maintenance of control. The moment she slips, let it read as a human error, not confession.

B♭2–G♭4 — Baritone (seductive, low chest and some upper mix). The Wolf is sly charm wrapped in menace—a cabaret emcee in fur who embodies appetite and temptation. More seducer than snarler, he sells Red the thrill of straying from the path with wit and allure, making the audience laugh uneasily even as they sense the danger. His purpose is to unsettle, not leer, so that Red's later lesson—'I know things now'—lands with clarity.

Cameo/non-singing role.

Cameo/non-singing role.

Cameo/non-singing role.

Cameo/non-singing role.

Cameo/non-singing role.

Cameo/non-singing roles.