Sondheim and Lapine's fairytale mash-up arrives in the West End after its run at the Bridge Theatre, and it brings its sense of wonder with it.
A father (Michael S. Siegel) steals from his neighbour, and the Witch (Kate Fleetwood) curses his family with barrenness. Years later, his son, the Baker (John Dagleish), and the Baker's Wife (Laura Pitt-Pulford) are struggling to conceive. The same Witch appears with a bargain: bring her four magical items within three midnights and the curse will be lifted. Their search leads them into the woods, where they cross paths with other storybook figures, all chasing their own Happily Ever After and all carrying troubles of their own.
Into the Woods takes the fairy tales we know and love and quietly dismantles them. There is no Happily Ever After here, only more: more problems, more heartache, more despair. Running away won't save us, and neither will revenge. We may not even be able to save ourselves, but perhaps we can save each other.
The production weaves its many classic tales into one cohesive story. Scene changes are seamless, and the lighting keeps the midnights ticking closer. The cast crawl, climb, leap and tumble across Tom Scutt's set, which is nothing short of magical: tall, untamed grass and towering trees that transport the audience straight into the forest. Aideen Malone's lighting deserves special praise, particularly the fireflies glimmering in the treetops at night, a beautiful touch.
This is a true ensemble piece, with every performer inhabiting their character and their longings. The Witch, the Baker and the Baker's Wife are standouts, and the crowd's favourites, the Princes (Lucas Koch and Matthew Seadon-Young), are a delight.
Together, the company carry us through tears and laughter, reflecting how complicated life is, even for fairytale folk. Their message lingers: there may be no happily ever after, but perhaps we can work at being happy now, in this moment.
It runs until 9 January. Tickets: here.
Review: Marquise Horton Photos: Johan Persson