I’ve said it before and I’ll surely say it again: We Chicagoland theatergoers find ourselves wandering through — lost in, even — a fairyland of shows and venues and world-class talent. And never was that more evident than when I experienced the Writers Theatre’s current production of Stephen Sondheim’s Into the Woods, directed by Gary Griffin.

The show, of course, is part of the Broadway canon, beloved by so many and sure to please. And the theater, with its in-the-round set transformed by Scott Davis into something both sensational and sinister, promised the same as soon as I ventured into its woods found my seat therein.

But, as I’ve said before and will surely say again, it was the cast that performed the most magic, that inhabited the characters who are Sondheim’s wondrous woods’ inhabitants and explorers and tragic tales. As strong as any cast I’ve ever seen, here or elsewhere, this was an all-star ensemble of Chicago’s artists and actors.

Set by Writers Theatre artistic director Michael Halberstam (as narrator) and conductor/pianist Charlotte Rivard-Hoster’s three-piece orchestra, the stage becomes a world that reveals one fantastic character after another — characters fantastic since their creations centuries before, but made even more so by those now portraying them.

Lucy Godínez’s Little Red Riding Hood is bright-eyed and bushy-tailed, but winkingly so, letting the children of all ages watching her that this fairytale land isn’t what we remember it to be. Michael Mahler (who I last admired for his Jeff-winning musical direction of 2018’s The Buddy Holly Story) grounds us as the longsuffering but steadfast Baker. And Ximone Rose’s Cinderella is equally spellbinding whether grubby from soot or gowned for the ball. Each of the stars is a force to be reckoned with.

The force those characters all must reckon with, however, is Bethany Thomas’ Witch. From beginning to end, whether hunched over in rags or wowing with her presence and her voice, Thomas is the star of the show. Even when surrounded by sights and sounds that would catch eyes and ears and turn heads in any other setting, Thomas is the focus whenever she’s onstage. Sure, that comes with the role. But Thomas’ talent magnifies the inherent star power the Witch possesses. She’s imposing, enthralling, enchanting.

But so, too, is the ensemble that populates the Witch’s world. Brianna Borger grounds the woods in the real, human world as the Baker’s Wife. William Brown brings gravity (and a bit of gaiety) whenever his Mysterious Man appears. Mary Poole’s a hoot (or a moo?!) as Milky White. Ryan McBride and Alex Benoit bring the princely racket with both renditions of “Agony.” And just as riotous are Cinderella’s kin, played by Kelli Harrington, Nicole Armold, and Molly Hernandez (like Mr. Mahler, also part of Buddy’s Jeff-winning ensemble).

So, be assured that this production is one that not only that does right by Sondheim, but gives his classic a stunning and unique interpretation. And, as I’ve said before and I’ll surely say again, the fact that this unique interpretation is available to us Chicago theater lovers — and performed by the unique gathering of talent we are so blessed with — is magical, indeed.

At Writers Theatre through September 22nd.