Into the Woods
The Bridge Theatre
until Saturday 30th May
The first time I saw Into the Woods was in 1991, and the show impressed me so much that it became not only one of my favourite productions of all time, but also cemented Sondheim as my favourite composer. While the film adaptation had its merits, it did not do the stage show justice. I was therefore eager to see Into the Woods again, this time at The Bridge, possibly the most innovative theatre in London. I was beyond excited and had high expectations.
The marvellous thing about theatre is the way directors can reimagine scripts, presenting familiar shows through a completely different lens. Jordyn Fein (director) and Tom Stott (designer) have delved into the heart of James Lapine’s book and have accomplished just that. Gone are the familiar fairytale heroes seen recently in pantomimes across the country, with their Disneylike, squeaky clean storybook personas. Instead, we encounter Cinderella, Red Riding Hood, Jack (of Beanstalk fame), and others as characters with complex emotions and flaws.
Into the Woods is a fusion of the stories we grew up with, returned to their grisly Grimm origins. Lapine poses the question: is there always a happy ending? Of course not! The first act follows the familiar storyline: Cinderella meets her prince, Jack acquires riches, and Rapunzel lets down her hair. Interwoven throughout is the tale of a Baker and his wife, who are sent into the woods by the Witch to collect magical objects so they may have a child. The second act takes a darker turn, as the characters must work together to overcome a common enemy. Choices are made, lives are changed, and the characters must confront loss, assign blame, and embrace new beginnings. It is all rather… dark.
Tom Stott’s set design was stunning. After the opening scene, where we are introduced to the characters, the set transforms to reveal ‘The woods’. Enhanced by Aideen Malone’s lighting, it was simply breathtaking. Stott’s costume designs were equally impressive. Gone are the crinolines and bright colours; instead, the costumes feature muted, earthy tones, blending the actors seamlessly with the woodland setting. The only exceptions were the vividness of Red Riding Hood’s blood-red cape and the ostentatious attire of the royal family. A bold choice, but one that succeeds beautifully.
Although the opening may be somewhat confusing, as the audience tries to discern who each character is, what they desire, and why, it does not take long before every character embarks upon their individual journey. The cast were exceptional—from the comedic Princes, the yearning Cinderella, to the childlike Jack and bold Red Riding Hood, each telling their story with a fresh twist. The characters that bind them all together are the Baker, his wife, and the Witch, each on their own quest for happiness.
The main draw for me, was the music. Sondheim’s music and lyrics are complex, witty, thought-provoking, and challenging. The orchestra, under the direction of Mark Aspinall were amazing and the lyrics were clear and sharp. The melodies stick with you for a long time, it was wonderful to hear someone humming the title song on the train home.
This production of Into the Woods is playing at The Bridge until May. It is well worth a visit.
⭐⭐⭐⭐
Reviewer: Sammi O’Neill
Photo: Johan Persson
Cast
Grandmother, Giant: Valda Aviks
Cinderella’s Father: Geoffrey Aymer
Baker’s Wife: Katie Brayben
Rapunzel: Bella Brown
Cinderella: Chumisa Dornford-May
Witch: Kate Fleetwood
Jack: Jo Foster
Narrator, Mysterious Man: Michael Gould
Cinderella’s Stepmother: Jennifer Hepburn
Lucinda: Hana Ichijo
Jack’s Mother: Julie Jupp
Florinda: Gabrielle Lewis-Dodson
Little Red Ridinghood: Gracie McGonigal
Steward: Hughie O’Donnell
Baker: Jamie Parker
Cinderella’s Prince | Wolf: Oliver Savile
Standbys
Taite-Elliot Drew, Sophie Linder-Lee, Jacob Fowler & Chloe Saracco