Top 5 Audition Songs from Into the Woods
- Garry Anderson
- Jun 24
- 7 min read
Stephen Sondheim's Into the Woods is a treasure trove of audition material - sharp, emotional, and brimming with storytelling potential. Whether you're going for a heartfelt ballad or a biting inner monologue, the show offers songs that demand character, vocal control, and real acting chops.
But Sondheim isn't easy. His music is layered and his lyrics are fast, witty, and emotionally loaded. That's why choosing the right song from Into the Woods is key - one that fits your voice, suits the role you're targeting, and gives you space to make bold character choices.
In this post, we'll break down five of the best audition songs from the show - with tips on who should sing them and how to make them your own.
Let's go into the woods (carefully).
Why Into the Woods Works So Well for Auditions
Sondheim musicals can be intimidating - but when done well, they're a goldmine for performers who want to stand out. Into the Woods is especially rich, offering character-driven solos that showcase acting, vocal precision, and emotional truth all at once.
Here's what makes it such a strong choice for auditions:
Complex Characters, Relatable Emotions
Even in a fairy-tale setting, the characters in Into the Woods are deeply human. They deal with grief, regret, fear, longing, and identity - giving performers the chance to play with emotional depth, nuance, and growth, all within one song.
Clever Lyrics That Show Vocal Dexterity
Sondheim's writing is wordy, witty, and musically complex - which is exactly why directors love hearing it in auditions. If you can handle the rhythm, phrasing, and clarity of a Sondheim song, it's a clear sign you're prepared, capable, and connected to your material.
Storytelling Built Into Every Song
Every solo in Into the Woods moves - it's never just a song, it's a journey. That makes it perfect for auditions, where you need to create a full arc in 60 to 90 seconds. These songs let you start in one emotional place and end in another, which is exactly why audition panels want to see.
What to Consider When Choosing a Song from Into the Woods
Not every Sondheim song is created equal - and when it comes to auditions, choosing the right one from Into the Woods is about more than just loving the tune. You need a piece that fits your voice, acting range, and personal connection.
Here's what to keep in mind:
Know the Character's Arc
Each character in Into the Woods goes on a major journey - so before you choose a song, understand who you're singing as. Are they naïve and hopeful? Jaded and reflective? Panicked and lost? The clearer your understanding of the character's arc, the more emotionally grounded and powerful your audition will be.
Match the Vocal Style to Your Strengths
Some songs demand pinpoint accuracy with fast patter (Hello, Baker's Wife), while others need smooth phrasing and vocal control (like Cinderella's reflective moments). Pick a song that sits comfortably in your range and highlights what you do best, whether that's acting through lyrics, navigating tricky rhythms, or delivering vocal warmth.
Choose a Song with a Clear Emotional Journey
Audition panels want to see storytelling, and Sondheim gives you the perfect canvas. Choosing a song that builds or transforms - where the character discovers something, changes direction, or makes a decision. A compelling emotional arc will keep the panel engaged from start to finish.
The Top 5 Audition Songs from Into the Woods
With so many standout songs in Into the Woods, narrowing it down to just five can feel like an impossible quest. But if you're looking for pieces that show off your acting chops, vocal skill, and emotional range, these five are a brilliant place to start.
Whether you're auditioning for a school musical, community theatre, or a professional production, these songs deliver depth, storytelling, and memorable moments - everything a casting panel wants to see.
Let's explore five Into the Woods audition songs, plus who they work best for and why.
"Giants in the Sky"
Character | Jack |
Best For | Tenors or high baritones with strong acting instincts. |
Why It Works | This solo is a masterclass in emotional storytelling. Jack begins full of awe and wonder, reflecting on the thrill of adventure, only to shift into feelings of confusion, disappointment, and yearning. It's a dynamic piece that moves quickly between moods, making it perfect for showcasing acting range as well as vocal clarity. The phrasing is clever but accessible, and there are plenty of opportunities to make bold interpretive choices - especially in the build-up to the emotional realisation near the end. |
Audition Tip | Don't rush the transitions. Let each emotional shift land fully - especially that bittersweet ending. |
"Moments in the Woods"
Character | The Baker's Wife |
Best For | Mezzo-sopranos or confident altos with sharp comic and emotional timing. |
Why It Works | This song is a gift for any actor looking to show complexity. It starts with bewilderment, moves through humour, desire, rationalisation, and ends with clarity and resolve. That's a full emotional arc in under three minutes - ideal for audition panels wanting to see depth. Musically, it's filled with Sondheim's trademark lyrical precision, which challenges performers to be exact with timing and diction, but it also allows for personal interpretation in pacing and emphasis. |
Audition Tip | Bring out the internal debate. The magic is in how she talks herself into - and out of - her feelings, all while staying grounded in character. |
"No More"
Character | The Baker |
Best For | Baritones or low tenors seeking emotional connection and maturity. |
Why It Works | Quietly powerful, No More is a song of disillusionment, grief, and reluctant courage. Often overshadowed by flashier numbers, this piece offers emotional nuance over vocal acrobatics, making it a great fit for performers who can act through song. It also provides a strong narrative through-line - the Baker is trying to walk away from everything, only to realise he has no choice but to keep going. If sung with honesty and simplicity, this piece stops audition panels in their tracks. |
Audition Tip | Don't over-sing it. The strength lies in restraint. Show the weariness, the frustration, the love - and the decision to try anyway. |
"I Know Things Now"
Character | Little Red Riding Hood |
Best For | Sopranos or mezzo-sopranos with strong characterisation skills |
Why It Works | Don't be fooled by the sweet, sing-songy melody - I Know Things Now is deceptively complex. It's a moment of awakening and transformation, capturing the shift from innocence to experience in under two minutes. This song is brilliant for young performers who want to show both vocal clarity and acting range, balancing curiosity, fear, and reflection. It's tempo and lyric structure give plenty of room for playful interpretation or genuine vulnerability, depending on your take. |
Audition Tip | Think carefully about the emotional arc. Start wide-eyed, end wiser. This isn't just a recap of events - it's a character wrestling with what those events mean. |
"On the Steps of the Palace"
Character | Cinderella |
Best For | Confident female-presenting performers with comic timing and vocal agility. |
Why It Works | This song is a masterclass in inner monologue - Cinderella literally thinks through a life-changing decision mid-song. The lyrics are packed with Sondheim's trademark cleverness, giving the performer the chance to flex both their vocal dexterity and sharp character work. It's also one of the few audition songs that allows for both humour and depth, depending on how you shape it. The song's twisting phrases and shifting pace test your control,. while the character's blend of indecision and determination gives you room to act. |
Audition Tip | Commit to a storytelling style - whether quirky, sincere, or cynical - and use your body and voice to track the "aha" moment as she makes up her mind. It's Cinderella like you've never seen her before. |
Bonus Tip - How to Cut Sondheim Without Losing the Magic
Let's face it - Sondheim songs are masterpieces, but they're long. And in an audition, time is limited. So how do you trim a Sondheim song while keeping its brilliance intact?
1) Identify the Emotional Arc
Sondheim songs usually follow a character's emotional shift. Whether it's self-discovery ("Giants in the Sky"), a moral dilemma ("Moments in the Woods"), or a bold decision ("On the Steps of the Palace"), the journey is the heart of the song. When cutting, keep the beginning and end of that arc, even if it means trimming the middle.
2) Avoid Cutting Mid-Thought
Many Sondheim lyrics run across bars and stanzas. Don't interrupt a sentence or cut off a build-up - it can make your performance feel choppy. Instead, find natural cadences or instrumental breaks where a cut feels clean and intentional.
3) Maintain the Style
Even a 16-bar cut should showcase Sondheim's signature style: rhythmic wit, melodic challenges, and storytelling. Choose a section that lets you showcase character, vocal control, and phrasing, even in a short excerpt.
4) Check the Ending
If you can, end your cut with a strong punctuation point - either a literal lyrical statement or a musical resolution. Ending on a question or unresolved chord can feel awkward unless done for dramatic effect.
This kind of thoughtful cutting shows directors that you not only respect the material, but you also understand how to make it audition-ready - a skill that goes a long way in callbacks and casting decisions.
Final Thoughts on Into the Woods Audition Songs
Into the Woods offers a treasure trove of audition songs - especially for performers who want to showcase acting depth, vocal skill, and storytelling power all in one go. Whether you're belting out "Giants in the Sky" or navigating the internal conflict of "No More," each song has something unique to offer.
Remember: The key to a great audition is authenticity. Choose the song that speaks to you - and let your interpretation do the talking.
Have a favourite Sondheim moment? Or a go-to audition song that never fails?
Drop it in the comments below.