This is especially evident in light of the recently-released film “Into the Woods,” which although well acted and crafted, suffers from the basic material being dwarfed by lavish special effects. In contrast, this new staging strips away frills and focuses on the wit and concept inherent in the Sondheim-Lapine achievement.

Under the co-direction of Noah Brody and Ben Steinfeld, this staging follows the John Doyle tradition of casting with actors who also play musical instruments, thereby constituting the show’s “orchestra” as they produce the score and sound effects from the sidelines.

Those who have seen other productions know the concept. The first act is a riff on the fairy tales that have graced childhood lives, presented here with humor and entertaining manipulation, and an intially happily-ever-after conclusion. But wait—in the second act all goes awry with dark twists and struggles for survival, with the lesson learned that people must stick together. Sondheim’s haunting, getting-under-one’s-skin score and lyrics express the feelings of the character assortment, and the performing expertise maximizes the overall impact.

Ben Steinfeld, doubling from his directorial duties, plays the Baker, with Jessie Austrian as his Wife, central to the plot as a couple who cannot have children as a result of a witch’s curse. Both are excellent in their roles. Jennifer Mudge as the Witch, terrific both in her nastiness and after she loses her powers, initially sets tasks for the Baker to complete for the spell to be withdrawn. There is much comedy as he and his Wife pursue the assignments. Later, when they do have a baby, the wish achieved turns not so fulfilling in the wicked plotting.

Although all of the performances merit praise, I especially like that of Emily Young as both the grasping Little Red Ridinghood, with her voracious appetite, and as the offbeat Rapunzel. Among Andy Grotelueschen’s character chores, I found his portrayal of the cow Milky White particularly amusing and endearing. As for the other cast members, plaudits are surely due to Noah Brody, Paul L. Coffey, Liz Hayes, Claire Kapen and Patrick Mulryan for their deft contributions.

The staging, including the choreography by Lisa Shriver, the imaginatively playful set design by Derek McLane and the droll costume design by Whitney Locher, creates a woodsy world in which anything can happen and everything does. The action is mostly swiftly entailed, although in the second act plotting necessities sometimes weigh things down a bit.

Add to all of this the excellent delivery of important songs, including the cast’s spirited ensemble singing of title number. Also, “Agony,” sung by Noah Brody as Cinderella’s Prince and Andy Grotelueschen as Rapunzel’s Prince, is a highlight. Jennifer Mudge is outstanding singing “Witch’s Lament” and “Last Midnight,” and Ben Steinfeld performing the Baker’s stirring rendition of “No More” brilliantly expresses the central theme, as does the song “No One Is Alone,” performed by Liz Hayes, Ben Steinfeld, Patrick Mulryan and Emily Young.