Prepare to be enchanted, but brace yourself for a twist—the Bridge Theatre’s revival of Into the Woods is a mesmerizing spectacle that challenges expectations from the very start. Here’s the kicker: what begins as a seemingly modest production explodes into a breathtaking display of theatrical brilliance. The opening number, choreographed on a sparse rectangular platform, feels almost understated, as if the towering legacy of Stephen Sondheim’s 1986 masterpiece is being deliberately downplayed. But then—and this is the part most people miss—the stage transforms. The backdrop lifts, the set expands, and suddenly you’re immersed in a lush, technicolor woodland that feels like a fairy tale come to life. It’s a bold reminder that this show is anything but small.
In its first act, Into the Woods weaves together a familiar tapestry of childhood fairy tales. There’s the fearless Red Riding Hood (Gracie McGonigal), the lovably dim-witted Jack (Jo Foster) of beanstalk fame, and Cinderella (Chumisa Dornford-May), whose grief complicates her prince’s charming advances (Oliver Savile). Binding these stories are the original characters: the Baker (Jamie Parker), his wife (Katie Brayben), and a cunning witch (Kate Fleetwood). But here’s where it gets controversial—by act two, the fairy tale veneer shatters, leaving the characters to grapple with raw, unfiltered human struggles. Is this a betrayal of the source material, or a bold exploration of its deeper themes? You decide.
Reviving Into the Woods is no small feat, but it’s nearly impossible to ruin. Sondheim’s music, Lapine’s book—they’re so intricately crafted that even a straightforward performance feels like a gift. (Though the 2014 film adaptation might argue otherwise.) Director Jordan Fein takes a no-frills approach, avoiding radical reinventions in favor of amplifying the musical’s inherent strengths. The result? Moments like the princes’ over-the-top duet, “Agony,” and Fleetwood’s show-stopping “Last Midnight” feel absolutely monumental.
The ensemble shines, with Brayben, Fleetwood, and Dornford-May delivering standout performances. Michael Gould’s narrator is delightfully chaotic, while Foster’s physical comedy—often involving a cow puppet—steals scenes. McGonigal’s Red Riding Hood grows more compelling as the play progresses, though her rendition of “I Know Things Now” feels musically strong but visually static. But here’s the real question: does a revival need to reinvent itself to be successful, or is honoring the original enough?
Visually, this production is a feast for the eyes. Tom Scutt’s set and costume design, paired with Aideen Malone’s lighting, create a world of lush, arresting beauty. It’s a revival that treats Sondheim’s work with the reverence it deserves—a spell that lingers long after the curtain falls. So, what’s your take? Is this production a masterpiece of restraint, or does it play it too safe? Let’s debate in the comments.
Catch Into the Woods at the Bridge Theatre until 30 May (https://www.bridgetheatre.co.uk/whats-on/into-the-woods-2/).
