Prologue: Into the Woods - Narrator & Company
Cinderella at the Grave - Cinderella & Cinderella's Mother
Hello, Little Girl - Wolf & Little Red Riding Hood
I Guess this Is Goodbye - Jack
Maybe They're Magic - Baker's Wife
Our Little World - Witch & Rapunzel (added during the Original London Production)
I Know Things Now - Little Red Riding Hood
A Very Nice Prince - Cinderella & The Baker's Wife
First Midnight - Company
Giants in the Sky - Jack
Agony - Cinderella's Prince & Rapunzel's Prince
It Takes Two - Baker & Baker's Wife
Stay with Me - Rapunzel & Witch
On the Steps of the Palace - Cinderella (with Jack & Little Red Riding Hood in 2002 Revival)
Ever After - Narrator, Witch, Florinda, Lucinda & Company
Prologue: So Happy - Narrator & Company
Agony (Reprise) - Cinderella's Prince & Rapunzel's Prince
Lament - Witch
Any Moment - Cinderella's Prince & Baker's Wife
Moments in the Woods - Baker's Wife
Your Fault - Jack, Baker, Cinderella, Little Red Riding Hood & Witch
Last Midnight - Witch
No More - Baker & Mysterious Man
No One Is Alone - Cinderella, Baker, Little Red Riding Hood & Jack
Finale: Children Will Listen - Witch & Company
In most productions of Into the Woods, including the original Broadway production, several parts are doubled. Cinderella's Prince and the Wolf, who share the characteristic of being unable to control their appetites, are played by the same actor.
Stephen Holden writes that the themes of the show include parent-child relationships and the individuals responsibility to the community. The witch isn't just a scowling old hag but a key symbol of moral ambivalence. She is also the only character in the show who always tells the truth. James Lapine said that the most unpleasant person (the witch) would have the truest things to say and the "nicer" people would be less honest.
The show covers multiple themes: growing up, parents and children, accepting responsibility, morality, and finally, wish fulfillment and its consequences.
William A. Henry III wrote that the play's "basic insight... is at heart, most fairy tales are about the loving yet embattled relationship between parents and children. Almost everything that goes wrong — which is to say, almost everything that can — arises from a failure of parental or filial duty, despite the best intentions."The musical makes heavy use of syncopated speech. In many instances, the characters' lines are delivered with a fixed beat that follows natural speech rhythms, but is also purposely composed in eighth, sixteenth, and quarter note rhythms as part of a spoken song.
The score is also notable in Sondheim's output because of its intricate reworking and development of small musical motifs.