Feminist scholars have considered how Into the Woods may be seen as a feminist work, in addition to how it runs against feminist values. Regarding criticism, Stacy Wolf draws attention to the binary logic imbued in how “[t]he Witch’s beauty and power are mutually exclusive, so that once she drinks the magic potion and regains her beauty, she can no longer cast spells.”

Meanwhile, Kevin Goffard considers the revolutionary trait of the Baker depending on his Wife and realizing her contribution to the journey in “It Takes Two”. While some have criticized the Baker’s Wife’s death following her tryst with Cinderella’s Prince as punishing her for her sexuality, Goffard draws attention to writers who interpret her death as “a release from a society that is often too strict and dictated”, citing the Baker’s Wife’s lines from “Moments in the Woods”: 

Must it all be either less or more,

Either plain or grand?

Is it always “or”?

Is it never “and”?

That’s what woods are for[…]

Cinderella’s retelling may also be seen as feminist for granting her agency in choosing to leave her slipper on the steps of the palace; to Sondheim’s knowledge, this is the only version of the “Cinderella” story in which leaving the slipper is a choice. Goffard also draws attention to how “not only does Cinderella leave her prince, but she leaves with forgiveness and respect and compassion for the prince.” Goffard points out a quote from an interview with Anna Kendrick, who played Cinderella in the 2014 film: 

What’s interesting about this version, and what’s very modern about this one, is that not only does Cinderella leave her prince, but she leaves with forgiveness and respect and compassion for the prince. It’s not black and white for her. It’s not even black and white for the prince, who lives a pretty black-and-white life. There’s a moment that’s basically, “This isn’t our path.” [Prince Charming says,] “I shall always love the maiden that ran away.” [And Cinderella says,] “And I the faraway Prince.” There is something extremely relevant and modern about the idea of civility in separation.

Goffard concludes with a note on Little Red Riding Hood: “[A]s the show progresses, Little Red shows strength on encountering the woods for herself, not relying on a man or a prince’s interpretation or advice. As such, she is using her own thoughts and feelings to decide for herself rather than that of others who are deciding for her.”