Music and Lyrics: Stephen Sondheim
Book: James Lapine
Director: Jordan Fein
Originally premiering in 1986, Into the Woods returns with a wonderful medley of fairytale figures and a fresh perspective on ‘happily ever after’. The opening number neatly establishes the standard beginning to a tale, with every character declaring their wish. Cinderella longs for the ball, Jack hopes to escape poverty, and the Baker and his wife yearn for a child.
The latter’s desire becomes the engine of the narrative when a witch, having cursed their fertility, offers a solution that sends them into the woods in search of magical ingredients. The first act interlaces their quests, keeping each story distinct while building a rich, shared world. In the second half, the tone darkens as the musical confronts existential questions: What happens after fulfilling a dream? How much agency do we really possess? Who is responsible for the difficulties of life? And what part does revenge play in justifying our choices?
Sondheim’s score excels in its intricate weaving of melodies and motifs, uniting disparate characters while allowing each to retain their individuality. The cast meets this challenge with clarity, precision and performances finely tuned to the emotional registers of their roles. While every character is truly stand out, Kate Fleetwood bewitches a mesmerising witch, Rhys Whitfield and Oliver Savile charm as hilariously suave princes and Gracie McGonigal commands the stage as a naively fierce Little Red Riding Hood.
Jordan Fein’s production shows a deep command of form, balancing powerful performances with fluid staging. Fein leans into the script’s self-aware tone, a prime example being Rapunzel’s hair as a literal ladder, while also introducing subtle contemporary resonances. In the second act, when the characters strain to maintain the illusion of happiness, a fleeting projection ushers us into a transformed forest, nodding to the modern tension between presentational joy and actual reality. These heavier textures are counterbalanced with deft comedic timing, where even small gestures offer welcome levity.
Tom Scutt’s design first astonishes when the black draws back to reveal a lush, enchanting forest. Aideen Malone’s lighting deepens this world further, using shafts of light through trunks and leaves to animate a setting that becomes a metaphor for life’s trials. Malone’s shifts in colour and tone decisively transform the woods, particularly in the more foreboding second act. Scutt’s set remains simple yet imaginative, complemented by witty costume choices, including charmingly kitsch purse-horses and a carriage. Classic in sensibility but edged with eclectic modern touches, such as a ‘tower’ that subtly evokes a religious niche, the visual world feels both familiar and freshly conceived.
For anyone yet to experience this iconic musical, this production honours the heart of Into the Woods while offering a subtle, cohesive and wholly absorbing version.
Runs until 30 May 2026
