Into The Woods

With Into The Woods – possibly one of Sondheim's most accessible musicals – known fairy tales are twisted into an allegory for today's times; stripping away Red Riding Hood, Cinderella, Jack and the Beanstalk and other tales from childhood and then teasing at the reality lying underneath them. It reached a pinnacle of glamourisation with the recent Disney film and now it's gone to the opposite end of pretence at the Menier – with no theatrical 'pantomime' and no effects, just simple singing by actors who aren't purposing to be anything more than that. For the most, this originality makes it all the better – even if it gives no hiding place for weaknesses.

Never would I have thought I would write the sentence “Go see this show for the Cow”, but that is the style of this truly ensemble piece.

The premise of the book is to look at the desire of all our fantasies through these well-known stories and the complaint often made about the show is that the first act is a long jolly jaunt (on the search to complete the witch's quest) that feels like it has ended before the second act deals with the consequences and becomes more relatable and real (spoiler – people die).

Here – from the opening "welcome to our show" apology that the barren Baker's Wife is being played by a pregnant actress, to the multi-casting, the allusion to sets and props (music sheets as birds, ladders and boxes as castles and thrones) and onstage musicians (the same actors displaying a talent for rustic instruments such as buckets, bells, banjos and oboes) – it's clear we are watching actors working rather than characters playing. And for the most part, this approach brings a new dynamic to the show. It actually manages to avoid being over demonstrative of this simplicity and – after the far too busy opening number (where the multi casting and constant racing to centre stage is a bit too messy to keep up with) – settles into a central vision that makes the music and props drift appropriately into the background.

When it works, it works really well at drawing us in with its subtleties and charm as nothing is hidden from us. Andy Grotelueschen makes Jack's cow (and Rapunzel's Prince) hilarious and upstages everyone with a 'moo' that has to be seen to be appreciated – his understatedness and comic timing is a joy to watch and is easily the standout performance (whilst also singing with the strength and timing that Sondheim demands). Never would I have thought I would write the sentence “Go see this show for the Cow”, but that is the style of this truly ensemble piece. And Emily Young's almost fetishistic lust for her own hair as Rapunzel (it's little more than a yellow tea towel with appended rope) also matches comedy with a powerful soprano.

But it has to be said that others in the cast, whilst perfectly passable, are less memorable, particularly Vanessa Reseland who brings nothing new or exciting to the Witch which is disappointing for those who have seen the show before – although possibly at the fault of previous productions as Sondheim's official biographer told me afterwards that this was never supposed to be the characterised 'star' part that Bernadette Peters and others turned it into. Nonetheless, it's impossible not to compare.

Though Sondheim purists may be divided over this particular production – and indeed, there were some empty seats after the interval – the fact that it has the backing of both him and James Lapine makes me think this is possibly the truest take on the show as it was meant. After the initial fussiness, the (arguably overlong) two and a half hours fly by with all the simple elements of casting and minimal props bringing a swiftness to the narrative and a dynamic freshness due to its lack of theatricality. The mere backdrop of ropes hanging and the fore-arch of piano keyboards above the proscenium still draw you in and help make this the most welcoming of scary woods in which to have a very pleasurable adventure.

Reviews by Simon Ximenez

National Theatre

The Normal Heart

★★★
Arts Theatre

Oleanna

★★
Olivier Theatre

Under Milk Wood

★★★★
Lyttelton Theatre

The Seven Streams of the River Ota

★★★★★
National Theatre Olivier

The Visit

★★★
National Theatre - Olivier

My Brilliant Friend

★★

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £600,000 to support theatre workers affected by the pandemic.
Donate to Acting For Others now

Performances

Location

The Blurb

Following great critical success in New York, innovative and ground-breaking theatre company Fiasco brings its enchanting reinvention of Stephen Sondheim and James Lapine’s masterpiece Into The Woods to the Chocolate Factory this Summer.

Using ten actors, multiple musical instruments and boundless imagination, this fairytale classic is reimagined as never before.

Featuring the timeless songs Children Will Listen and No-one Is Alone, this Tony Award-winning musical was recently made into a successful Disney feature film starring Meryl Streep, James Corden and Johnny Depp.

Most Popular See More

The Phantom of the Opera

From £27.00

More Info

Find Tickets

Cinderella The Musical

From £24.00

More Info

Find Tickets

Mary Poppins

From £24.00

More Info

Find Tickets

Matilda the Musical

From £24.00

More Info

Find Tickets

Dear Evan Hansen

From £30.00

More Info

Find Tickets

Back to the Future - The Musical

From £24.00

More Info

Find Tickets