PATRICK MARMION reviews Into the Woods at the Bridge Theatre, London: Subversive, enchanting, Sondheim’s fairytale is a real hoot

by

Into The Woods (Bridge Theatre, London)

Verdict: Deep dark woods 

The Brothers Grimm would surely be delighted by this new production! Jordan Fein’s revival of the Stephen Sondheim and James Lapine musical, which playfully combines their classic fairy tales, is a total joy. The stunning costumes and set design by Tom Scutt perfectly capture the mischievous and magical spirit of the original stories.

A baker and his wife desperately want a child, so they make a pact with a witch. To fulfill the deal and allow the wife to become pregnant, they must venture into the woods to find a very specific set of items: a white cow, a red cape, golden hair, and a golden slipper. This story cleverly weaves together elements from several classic fairy tales, including Jack and the Beanstalk, Little Red Riding Hood, Rapunzel, and Cinderella.

Even if you’re familiar with these classic stories, Sondheim’s inventive music and Lapine’s playful script breathe new life into them, making for a truly enjoyable experience. Kate Fleetwood brilliantly portrays the complex and troubled Witch, especially her difficult relationship with her daughter, Rapunzel.

Her hit song, “Stay With Me,” powerfully conveys the desperation and strong desire she feels to safeguard and have control over her daughter’s life.

Jamie Parker’s Baker struggles with guilt, even refusing to take Red Riding Hood’s cape because he’s afraid of bad luck. However, Katie Brayben’s Baker’s Wife is much more ruthless. She confidently steals Jack’s beloved cow, declaring that any action is acceptable if it achieves the desired result.

Scutt’s beautiful designs are so captivating that they overshadow the story’s deeper themes of self-improvement and difficult choices. We’re immediately drawn into his richly detailed forest, which feels like a painting from a bygone era.

My main issue with the second half of the show is that it unnecessarily points out that happily ever afters aren’t real. Musicals often explore illusions and fantasies, so it’s redundant to emphasize this with such a dramatic image—like a trampling of fairyland. The idea is already present within the stories themselves, as demonstrated by characters like the stepsisters who went to extreme lengths to achieve their goals.

Into The Woods runs until May 30. 

 

Christmas Carole Goes Wrong (Apollo Theatre, Shaftesbury Ave)

Verdict: Not the Dickens

Seriously, everyone is doing ‘A Christmas Carol’ this year – it’s everywhere! I love the story, but honestly, it’s getting a little… much. Thankfully, Mischief Theatre’s version, ‘Goes Wrong,’ is exactly what I needed! It’s hilarious and a perfect escape from all the overly sweet, Victorian stuff. It’s a breath of fresh air, honestly!

I’m a huge fan of the Cornley Drama Society, and their Christmas shows are always… chaotic, to say the least! This year, it’s ‘A Christmas Carol,’ and Chris Bean is taking on the role of Scrooge. But things aren’t going smoothly. Apparently, another actor, Robert Grove – played by Henry Lewis – is convinced he should be the lead and is trying to steal the show with a lot of dramatic pronouncements about being the spirit of Christmas! It’s a disaster waiting to happen, and I can’t wait!

The play’s mishaps happen with frightening precision. Jonathan, played by Greg Tannahill, becomes entangled in Marley’s chains. Meanwhile, Dennis, portrayed by Jonathan Sayers, absentmindedly drinks wine while reciting his lines, and Tiny Tim is reimagined as a massive, fragile doll that threatens to fall apart.

The set features an accidental massive Maltesers box, and a life–size Barbie kitchen (don’t ask).

It’s not perfect, but their supporters will enjoy watching them triumph over yet another establishment. Good for them!

Christmas Carol Goes Wrong is on until January 25.

 

Also Playing

The Red Shoes (Sadler’s Wells, then touring)

Verdict: The Bourne supremacy

Victoria Page, a promising young ballerina, quickly impresses the powerful theater producer Lermontov. Her natural and emotive dancing is a refreshing change from the ballet of the 1940s, which often featured male dancers simply supporting ballerinas who seemed more focused on appearances than artistry.

Lermontov was impressed by the exciting possibilities he heard in the music of a young pianist named Julian, whose playing was passionate and full of feeling.

Victoria is taking center stage in Julian’s new ballet, “The Red Shoes.” The ballet is inspired by the classic, but haunting, story by Hans Christian Andersen about a girl and a pair of magical red shoes that compel her to dance endlessly.

Matthew Bourne’s dance version of the classic film transforms the story into one about obsession. Everyone desires the young ballerina, leading to heartbreaking consequences. As always, Bourne uses movement and physicality to tell the story in a uniquely expressive way.

At Sadler’s Wells until January 18.

Read More

2025-12-19 05:14