Into The Woods (Noel Coward Theatre)

From the Bridge Theatre production. Some actors have now left the cast.

(seen at the afternoon performance on 13th December 2025)

Stephen Sondheim is said to have noted that “a dark exploration of the adult psyche is now performed by sixth grade children everywhere.”

This magnificent revival directed by Jordan Fein is as black as a politician’s soul, as icy as their hearts.

Tom Scutt’s designs combine with Jenny Ogilvie’s movement direction to give the whole piece the look and feel of a razor-sharp woodcut illustrated book of European fairy tales from the 1800s.

Stripped to the absolute minimum, the focus is entirely on the words and music, which sound particularly crisp under Adam Fisher’s design.

It is almost entirely humourless, only the “charming, not sincere” line raising a real laugh. Any others are tense, as the fairytale characters face situations well outside their experiences, each on a sharp individual learning curve.

Michael Gould is our university-don suited guide, ineffectual and mildly surprised at rebellion.

Later, his alter-ego scene with Baker son (Jamie Parker) is moving, a duet of painful honesty about growing up.

Parker – channelling original Baker Chip Zein in look – is protector of wife Katie Brayben, a woman able to look after herself and irresistible to royalty. Their happiness and teamwork, shattering losses and shaky highs flow easily.

On the other side of the village, Jack (Jo Foster) and his exasperated mother (Julie Jupp) allow Milky White (a Cheryl ‘Chuck’ Brown, Max Humphries and Tom Scutt creation) to do a lot of the emotional work.

Foster is an accomplished puppeteer and delivers “Giants In The Sky” with a knowing bewilderment. Jupp is busy trying to imbue wisdom and sense, beautifully judged.

Given most of the strongest music, Kate Fleetwood’s Witch is a Cassandra. Cursed always to speak a truth nobody wants to hear, making choices that most can and will not.

With Bella Brown as Rapunzel, the mother-daughter dynamic is explored in depth, this production highlighting more than most the effect of what happens to a child carrying it through life, and the effect on the mother too.

Both Brown and Chumisa Dornford-May as Cinderella, the two single women in the piece, are blessed with outstanding voices, used to full effect beyond their considerable dramatic skills.

Circumstances alter both their lives and the reaction is fascinating.

Similarly, Gracie McGonigal’s Little Red Riding Hood takes a journey of deprivation. Playing the role as a thoughtful, considered growing adult rather than the usual brat is an inspired take, “I Know Things Now” reflecting personal growth rather than hormonal confusion.

Her Grandmother (Valda Aviks) is involved in a gloriously bloody sequence and later becomes the voice of a perfectly conceived Giantess (Aideen Malone’s lighting working over-time).

Victim of the attack, Oliver Savile as Wolf gives us “Hello, Little Girl” as a Fagin of the forest, with a shockingly clear interest in young girls as more than a food source.

Later, as Cinderella’s Prince his morals remain blurred, egged on by sidekick Rhys Whitfield as Rapunzel’s Prince, the result is exquisite “Agony.”

Bleak, bitter, never pulling a punch, the thrilling tensions build and we are swept along on a tide of intelligent analysis which is a warning to us all that “Children Will Listen,” our most vital work to be ensuring it is to the most considered advice.

For now, the monkey's most considered advice is to see this, and drink deep of its laser etched infinite wisdom.

Standing ovation given.

From the Bridge Theatre 2025 production

18th December 2025. I think that I would try and sit as near to the stage as possible if I went again, though there are parts of the design that probably look great from the back.
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I saw the original west end production and the paired back production at the Menier Chocolate factory. Loved both of them. But this is something else. The entire production is near perfect.

Brilliant cast, fantastic set and lighting but most importantly an amazing sound design, meaning that it was perfectly crisp and every word could be heard and at just the right volume.

5 stars!

Taljaard

I think if I had to suggest one show on currently that a visitor should go and see, it would be this.
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16th April 2026. Had covers for the Baker (sad to miss Jamie Parker!!!), Little Red (didn’t care for her much) and Florinda and the steward. I have seen a lot of productions of Woods. I liked the set a lot. Prefer a more sexual vibe with the wolf and Red. Enjoyed it especially Katie Brayben as the Baker’s wife. She reminded me of Claire Foy! Was impressed with Kate Fleetwood as I had low expectations for her voice. She actually stood right next to my seat and sang for a little bit during the show! 5 stars.

Broadway John.

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Notes:
First Thursday 2.30pm performance is on 8th October 2026.

Extra 2.30pm performance on 27th October 2026.

No performances on 24th and 25th December 2026 and 1st January 2027.
No 7.30pm performance on 31st December 2026.

Extra 2.30pm performances on 21st, 23rd, 27th, 29th and 30th December 2026.
Extra 7.30pm performance on 27th December 2026.

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