Into the Woods | Noël Coward Theatre

Into the Woods makes its triumphant return to the West End after transferring from a successful run at the Bridge Theatre earlier this year. An Olivier-winning musical, this production has also been described as "the best production of Into the Woods" by James Lapine, the writer of the musical, so it's clear to say this musical is a shining example of the excellence achieved. Into the Woods has music and lyrics by Stephen Sondheim, a composer who is one of musical theatre's most influential names for his many incredible works.

Into the Woods is a beloved musical that interweaves characters from a number of various fairy tales, and then proceeds to examine what happens after the 'happily ever after'. Lapine and Sondheim's original characters, The Baker and The Baker's Wife, must break the Witch's curse in order to have a child, and each of the four items needed leads them into various fairy tales. Each of them leave the woods changed with their fairytale endings, only to discover that all is not well and life is not as easy as one would hope.

Directed by Jordan Fein, this production opts to honour the script and its characters, allowing for Sondheim's genius to be fully realised on stage. Fein has previously mentioned that he encourages his cast to bring a little bit of themselves to the role, allowing for each character to feel more alive. Fein's love for the text is clear as he gives each musical number it's own time and space to breathe, and for audiences to fully take in the intricate details of this masterpiece of a musical. 

Movement director Jenny Ogilvie (assisted by movement captain Jacob Fowler) has ensured the smooth choreography between the ensemble cast, as multiple plots unfold all at once. Whilst the show opens with a single large table and four stories taking place simultaneously, the choreography is slick and it's always clear who is in focus; and this continues through the show well. The movement is perhaps most impressive during the final song of both acts, where the entire company are onstage interweaving and interacting with one another. 

The ensemble cast of 17 bring this heavy score to life, each so brilliant in their roles. With several returning cast members from the Bridge production, it's safe to say their performances are even more refined and the new cast fit in beautifully. Geoffrey Aymer and Jennifer Hepburn make the most of their limited stage time with a fun if odd pairing as Cinderella's father and stepmother who are hellbent on saving their own skin. Cinderella's stepsisters, Lucinda and Florinda (Hana Ichijo and Gabrielle Lewis-Dodson) are hilarious as the double act bratty sisters. Ichijo and Lewis-Dodd, though with limited stage time, both show off their lovely singing voices.

Valda Aviks portrays both Little Red Riding Hood's Granny, a feisty old woman who refuses to be beaten or considerate, and voices The Giant with impressive grief stricken anger. Julie Jupp is deeply convincing as Jack's mother, as she is equal parts fed up of his antics and ready to lay down her life to protect his. Jack Quarton, despite having a limited stage time, makes himself memorable as the Prince's Steward with his panicked outbursts as he tries to protect the crown and himself in tough situations.

Fiona Finsbury is angelic as Rapunzel, with a voice that melts through the rest of the show. Rapunzel's Prince, played by the ever so charming and dramatic Lucas Koch, is a fan favourite (along with Matthew Seadon-Young as Cinderella's Prince). Koch makes the most of his role by ramping up the laughter he can wordlessly cause, constantly flicking his hair out of his face with clear eye roll. Seadon-Young is unforgettable as The Wolf and Cinderella's Prince, with a performance that truly revels in the idiocracy of the role.

Michael S. Siegel takes on the role of the mysterious man and narrator; a character who exists on the outlines of the show, until he gets dragged into the thicket of the woods with the other characters. He's a clever intention of Lapine and Sondheim, helping audiences to follow the multiple storylines and keep everything on track, with a smug sense of breaking down the traditional form of storytelling as he becomes a character.

Simbi Akande steps into the golden shoes of Cinderella and effortlessly hits all the right notes with a voice that is simply gorgeous and pitch perfect. Keith Ramsay gives Jack the perfect balance between a sweet and sensitive young boy and an ambitious lad determined for an adventure, making the character even more likable. Ramsay's Giants in the Sky is a highlight, as he demonstrates some particularly impressive vocals that capture childish innocence and wonder, along with a little bit of adult realisation.

John Dagliesh finds himself right at home as The Baker, offering a contrastingly grounded performance. His quieter and more subtle moments of emotional breakthrough become precious, as the wide stage feels intimate, as though the audiences are given a secret. Dagliesh is excellent throughout, but it's his duet with Laura Pitt-Pulford in It Takes Two that really gives him a chance to show off his natural warmth, charm and lovely singing voice.

Pitt-Pulford steps into the role of The Baker's Wife with a confident stride, opting for a bolder interpretation of the character that presents her as an even more unfazable and strong character. Gracie McGonigal is divine in the role, with a show stealing turn whenever she's on stage, full of life, joy and mischief, with a performance that redefines the role for all future iterations of Into the Woods.

Last but certainly not least is Kate Fleetwood as The Witch, making her return following the Bridge production. Fleetwood is sensational in the role, commanding the stage as she explodes into the lives of the Baker and his wife. Fleetwood is full of life as the Witch, turning the questionable character into one that audiences cannot get enough of. Fleetwood deserves all the accolades for her rendition of The Last Midnight, which is perhaps, single handedly, the best solo musical number on the West End at the moment.

One would think that the cast's performances are the high point of the show, but surprisingly, even this extremely talented cast must step aside for the show's beating heart; the woods themselves. Tom Scutt's set is a wonder; it seems inconceivable that Scutt has transported the woods into a West End Theatre, and yet it seems that he has done the impossible. Scutt has recreated woods that are revealed with loud gasps from the audience as the 'sun' streams through the tall trees, mossy patches and rustling bushes.

The gentle mist adds to the effect enormously, ensuring that audiences do not see the end of the woods. Scutt has also put in plenty of thought to the second act, where the woods have been trampled with identical trees that now are broken or snapped in half with a less obstructed steam of sunlight. These woods truly are just marvellous and had the performances not been as compelling, it would be quite easy to lose oneself in the admiration of the set as opposed to the script and score.

Scutt has worked closely with award winning lighting designer Aideen Malone to create these steams of sunlight whilst ensuring that the characters are kept illuminated. This can at times create striking silouhettes of the characters as they emerge from the woods to centre stage. Along with Adam Fisher's sound design and Roland Harvath's video design, the portrayal of the giant is done extremely well, using flashing lights, vibration and surround sound with the bass intensified, and the outline of the Giant on stage. Cinderella's bird friends are also recreated in a similar manner, which is a small but lovely detail for those closer to the stage.

Scutt, also as costume design, opts for a more colourful and flamboyant look for the characters that play into their personalities. Little Red Riding Hood's iconic red cape is later transformed into a soft wolf skin poncho completed with a head accessory. Cinderella's dress, however, takes the cake as one of the most stunning dresses, with a dress that blends into the trees. Sam Cox has designed wigs, hair and make up, and one can only thank him for his work on the Prince's, providing them with luscious hair that adds to their dramatic personalities.

Milky White, who has become a fan favourite since debuting at the Bridge Theatre, notably accompanying the previous Jack (Jo Foster) to the Olivier Awards earlier this year, with puppetry design by Cheryl 'Chuck' Brown, Max Humphries and Tom Scutt, creating an adorable hand puppet, whose insides resemble a bottomless pit and can squirt out puffs of chalk.

A Sondheim score is never easy but the band, led by Alex Beetschen, take it in their stride, delivering an excellent score which is particularly impressive to behold during the fast-paced song Your Fault. The music is sweeping and the lyrics are precise, reminding audiences of the genius of Sondheim. The show is filled with delightful songs, each one more special than the other in what is truly well rounded and one of the best musical theatre scores to exist.

Into the Woods is a masterful production, trusting its script, performers and audience, resulting in a production for the ages. It's a privilege for the musical to make a return to the West End after thirty years, and it promises to be the theatrical highlight for musical theatre fans. Go forth, into the woods.

Into the Woods is playing at the Noël Coward Theatre until 09th January - tickets and more information can be found here.  

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Johan Persson