After its live performance of Stephen Schwartz’s “Snapshots,” ACT envisioned a large-scale production of Sondheim’s work with elaborate sets, lavish costumes and special effects. But as budgeting for such a project with limited capacity seemed impractical, the team opted for a different approach.

“Into The Woods” will take on a concert-style format, with members of the orchestra seated at the top of the stage behind protective barriers. The actors will remain on stage throughout the show and will each be stationed at a “dedicated and character-specific stool,” said artistic director Daniel C. Levine.

“What I always tell people is’ don’t be fooled by the word ‘concert version’,” he added. “These aren’t song selections from the show – that’s is the whole show from first word to last word. “

The production marks the first partnership between ACT and RSO, which has not been able to perform as a full orchestra for over a year, according to general manager Laurie Kenagy. His performances normally feature 65 musicians playing in total, but only 12 will complete the score of “Into The Woods”.

And since the percussionists will be installed in the theater lobby, their parts will be transmitted to the rest of the musicians on stage via headphones, according to music supervisor and conductor Bryan Perri. “The challenges are… endless, but at ACT, we say that limits breed creativity,” he said.

ACT recruited Barts Tree Service in Danbury to stock the set with trunks, stumps and branches, creating a mythical landscape illuminated by an array of hanging Edison bulbs. The lights will light up based on the characters featured in each scene, and at times, the stage’s built-in turntable will spin to move the actors – great for social distancing.

“In a way, there’s a kind of Brechtian vibe because you’re constantly aware that you’re in a theater,” Perri said.

Kenagy said the limited set and the orchestra on stage would make Sondheim’s score “much more focused” and allow musicians to interact more intimately with the cast and audience.

“It’s a great way to get a different feel,” RSO lead violinist Jorge Avila said of the format. “This rush (of the performing arts) is something that we have been missing … (and) this show is a testament to the resilience of the artistic community.”

Patrons of the arts are equally resilient – within a week tickets are sold out. Each performance will accommodate 90 people to comply with the 50 percent capacity limit, and health examinations will be administered before entering the building.

“It’s exciting to know that people are ready to come back,” said production manager Erin Craig. She added that the theater would continue to apply these precautionary measures “until we are finally out of the woods.”

Although the pandemic has changed the world of live performance, Kenagy said the collaborations it spawned are here to stay.

“We’ve all learned to change what we do… but this bodes well for the future,” she said. “The fact that (this show) is happening is huge, and it shows how much the community values ​​the arts.”

“Part of our mission is to help continue to make Ridgefield an artistic destination,” added Levine, “and theater has a way of bringing community together.