Fairytale magic at a fiery pace
Perhaps James Lapine and Stephen Sondheim’s most well-known musical, Into the Woods first premiered in 1986, winning three Tony Awards for the Broadway production the following year. Intertwining multiple fairytale plots, this iconic production uses classic characters and stereotypes to play with the concepts of destiny and desire.
A relatively new space built in 2017, the Bridge Theatre has become known for its unique and often immersive stagings. While Into the Woods sits on a classic proscenium stage, as with most modern theatres, the sightlines are fantastic wherever you are.
A fabulous example of Sondheim’s notoriously challenging score, the songs in this show constantly push the story forward, requiring immense skill from the performers. The cast are not all strong singers and with music this unforgiving, it’s noticeable. However the women of the company gallantly hoist the men onto their shoulders, largely carrying the production vocally.
Kate Fleetwood is a standout Witch, with a rendition of Last Midnight that conjures goosebumps and an overall stunning performance capturing the complexities of her beloved character. Bella Brown shows off her exceptional vocals and leans into the tragedy and madness of the story of Rapunzel, commanding audience attention despite being a small role.
Katie Brayben completely steals the show as the Baker’s Wife, flirty, tenacious and most importantly, an absolute vocal powerhouse. Oliver Savile and Rhys Whitfield play their pompous princes with vigour, giving a particularly hilarious rendition of Agony (Reprise).
Creating the world of Into the Woods warrants 14 pages in the program and it’s easy to see why when the forest is finally revealed. All stagecraft elements work exceptionally well together, with a moving set by Tom Scutt enhanced by the masterful lighting design of Aideen Malone.
Costumes also by Scutt are sensational, leaning into these classic fairytale archetypes in a way that subtly enhances their wishes and the journeys they undergo to get them. Sound design plays a pivotal role in this production, and Adam Fisher has created a booming soundscape to generate real trepidation and unease in the audience.
Having not seen a London revival since 2016, director Jordan Fein wanted to capture not just a fairy story but ‘this battle between the individual and the greater good’. With 10 months preparation before even entering the rehearsal room, it’s no wonder the production is so incredibly lush, every small detail has been thought of. This is a fabulous, maximalist way to see Sondheim, with a great ensemble and an even greater creative team.