Into The Woods - Review

Noel Coward Theatre, London

****

Music and lyrics by Stephen Sondheim

Book by James Lapine

Directed by Jordan Fein

Gracie McGonigal

Stephen Sondheim’s Into the Woods, revived last year at the Bridge Theatre, now transfers across the river to take up a West End residency at the Noel Coward Theatre. The genius of this show lies in its ability to strike an intriguing and often comic balance between fairy-tale whimsy and unsettling moral consequence. Whether this humour stems from directorial interpretation or is rooted more deeply in James Lapine’s book is open to debate, but either way, the result is an evening that proves unexpectedly entertaining.

While the story’s concept remains ingenious and innovative, the show is not without some minor flaws. Its opening sets the tone for the rest of the piece, introducing all of the (classically familiar) characters in such a way as to heighten the excitement felt by the audience. However, with a running time of close to three hours, this level of excitement is a challenge to sustain, particularly within the first act.  Another small note is the end of scenes – when the music draws to a sudden stop, the performers strike a pose and the lighting changes to envelop them in the most dramatic manner. While at first, thrilling, the repetition of this style leads to a blunting of its impact.  

The production’s visuals however are flawless. With much of the action unfolding within the eponymous woods, Tom Scutt’s arboreal sets sees the trees loom vast and threatening in one moment, before transforming into something almost magical in the next. Alongside Aideen Malone’s lighting plots, the staging creates a constantly shifting landscape, one that feels alive and reactive to the story being told. Paired with the exquisite costumes (Scutt again, complemented by Sam Cox’s wig designs), the overall aesthetic is so refined that this production could almost be frozen in time and displayed at the National Gallery without raising an eyebrow. 

At the centre of this world stands Kate Fleetwood as the Witch - anchoring the production with formidable authority. Commanding and deeply watchful, her Witch is at once terrifying and sharply funny, effortlessly balancing menace with wit. Fleetwood navigates her character’s volatility with control. Vocally assured and emotionally precise, she captures the complexity of one of Sondheim’s most demanding roles. Laura Pitt-Pulford is beautifully cast as the Baker's Wife, capturing her character's poignant complexities with an assured combination of vocal power and sensitivity.

An exciting casting choice is Gracie McGonigal as Little Red Ridinghood. Fierce, fearless and deliciously chaotic, McGonigal proves herself the smartest possible choice for the role. Grabbing attention effortlessly and wielding a single glare with remarkable authority. As the song rightly states, “scary is exciting”, and McGonigal leans into this with relish, every line landing exactly where it should.

Taking charge of the show’s comedic aspects are Lucas Koch as Rapunzel’s Prince and Matthew Seadon-Young as Cinderella’s Prince/The Wolf. Every jest and head movement had its own precise purpose – making the audience relish in the absurdity of a Prince ‘taught to be charming, not sincere.’

Jordan Fein's production succeeds in capturing the complexity of this musical that makes it so enduring. Embracing both darkness and humour, yet allowing neither to overpower the other, this production is elevated by striking design choices and performers who clearly understand the material. Confident and visually rich, it serves as a timely reminder that fairy tales are rarely simple - and that when told with care and intelligence, they still have plenty to say.

Reviewed by Emma Kaabachi

Runs until 9th January 2027

Photo credit: Johan Persson