Stephen Sondheim’sInto the Woodsis a notoriously delicate masterpiece, a musical that doesn’t simply rely on strong voices, but demands a complete and unwavering commitment from its performers. This production at the Bridge Theatre doesn’t just meet that challenge – it utterly transforms the experience.
Director Jordan Fein has achieved something remarkable: a seamless blend of distinctly American theatrical intelligence and the anarchic joy of British pantomime. The result is a production that feels both reverent to the source material and vibrantly, thrillingly new.
Tom Scutt’s set design is a dreamscape, a pop-up storybook brought to life. Costumes and props aren’t merely decorative; they become characters in their own right, contributing to the show’s playful, yet often poignant, narrative.
The story begins with a Baker and his Wife, portrayed with uncommon tenderness by Jamie Parker and Katie Brayben, burdened by a generational curse. To break it, they must venture into the woods to collect seemingly impossible items – Cinderella’s slipper, Rapunzel’s hair, Little Red Riding Hood’s cloak, and a cow as white as milk.
Their journey collides with familiar tales, and with Jack, brilliantly played by Jo Foster, whose guileless charm almost makes one forget the chaos unleashed by his beanstalk. Gracie McGonigal’s Little Red Riding Hood is a revelation, capturing the heartbreaking reality of lost innocence with a darkly humorous edge.
The princes, traditionally comedic relief, are dispatched with gleeful abandon by Rhys Whitfield and Oliver Savile. Their rendition of “Agony” is a masterclass in comic timing, blending narcissism and theatrical flourish with breathtaking precision.
Chumisa Dornford-May’s Cinderella possesses a crystalline soprano that feels genuinely magical, while Bella Brown’s Rapunzel portrays a haunting fragility, subtly preparing the audience for the emotional weight to come.
But it is Kate Fleetwood as the Witch who truly captivates. Her performance is a masterclass in nuance and power, anchoring the entire production emotionally. Fein wisely allows the show to orbit around her, and she delivers.
Fleetwood’s rendition of “Last Midnight” is staggering, a moment of such raw emotional intensity that it brought the opening-night audience to the brink of hysteria. It’s a reminder of the power of musical theatre to move, to challenge, and to truly connect.
This isn’t simply a revival; it’s a testament to Sondheim’s genius and a powerful reminder of the enduring relevance of his work.Into the Woodsat the Bridge Theatre is a fairytale for our time – one with teeth, heart, and a profound understanding of the human condition. It’s a story that reminds us, even when lost in the darkest woods, that No One Is Alone.
