Review: Into The Woods, at the Bridge Theatre, London

I think we can all agree that it has been a surprise to see this production get as many Olivier nominations as it did; a few maybe but no more than a few. But when Olivier nomination day came, and this production walked away with a whopping 11 nominations, as many as Paddington, including at least one in every single acting in a musical categories, making it the joint front-runner... Well, I broke my no matinees rule for this trip and booked a visit to go Into The Woods, which has been playing at the Bridge Theatre since December last year. 

And what justified it further for me is that I haven't seen Into The Woods on stage for a decade!

The late great Stephen Sondheim's most accessible musical, and a favourite of many, can be described as The Avengers of Fairytales. (That's how I explained it to my boyfriend anyway.) From Cinderella to Jack (and the Beanstalk) and Little Red Riding Hood, characters you know (or think you know) interweave with the quest of The Baker and his wife to have a child of their own, ending The Witch's curse on their house. But will getting what you wish for really mean Happily Ever After? Or will it instead come with a price? 

The hype from this production is that it is not only the first musical of Sondheim's after his death (not counting Old Friends) to be produced in London, but also because it is on at the Bridge, one of the city's most exciting venues. I was last here for Guys and Dolls, and that production was extraordinary. So with that, director Jordan Fein straight off his Olivier winning production of Fiddler, Tom Scutt designing (who also did the set and costume design for Cabaret), and a big cast, this musical has a very big hype score. 

Now, I must say this production has been a little marmite; and I put that down to Into The Woods being so beloved, people have very strong feelings about how it should be put on. With that in mind, please remember this is my opinion only. And I personally loved this version. Visually more than anything else. 

Tom Scutt's set for this production is, in a word, stunning

It doesn't start as much, no more than a black box. But then at the end of Prologue: Into The Woods, the curtain lifts, and the audience gasps. Because we are transported to the most realistic looking wood you will ever likely see on stage. Scutt's costumes feel earthy both in colour and material, skipping a lot of the bright colours you associate with your childhood memory or nostalgia of these fairy tales, meaning the few bits of brightness such as Little Red's cape red as blood really do pop. Most of the costumes feel very well worn, especially in the poorer characters, and in some cases such as The Witch's, grotesque. While I'm here, a big congratulations must also go to hair and make up by Sam Cox, especially for the contrast of The Witch pre and post transformation. 

The final piece of the puzzle is Aideen McLane's lighting design and Roland Hovarth's video design, giving the illusion of light poking through the trees as light would naturally, and making big shadows on the tree trunks. Each piece of this puzzle creates a world which pulls much more from the Brother's Grimm original than Disney; their world feels fantastical, claustrophobic and a little creepy. The still of Little Red waiting to go inside her Grandma's house looks like it was pulled straight out of a horror film. 

All three elements (Set, Costume and Lighting Design), have been nominated for Oliver awards, along with Adam Fisher for Sound Design. The sound really comes into its own in the second act, particularly with any scene involving the Giant and the chaos she brings to the Kingdom. 

The other reason there is a lot of excitement for this production is the calibre of this cast

Ironically, the day before I saw Into The Woods, on the train down to London, new company members were announced, including Melanie LaBarrie (The Lorax) as The Witch, Rachel Tucker (Sunset Boulevard) as The Baker's Wife, and my first Phantom John Owen Johns as Narrator/Mysterious Man. 

But it was the original, Olivier-nominated cast I got to see. 

Leading as The Baker and his Wife, were Jamie Parker (Next to Normal) and Katie Brayben, who have at least 3 Olivier wins between them. These two are titans of the West End and I loved the chemistry between them and their different approaches in getting their wish of a child. Parker has a lot of shame and guilt built into his performance of The Baker, from the second he knew about The Witch's curse, right up until the very end. Brayben as The Baker's Wife is more determined, and really is the glue that holds the group together. I am not surprised that they have both got nominations this year. 

Along with them, we have three more Olivier nominated performances to talk about

Oliver Savile (Falsettos), Jo Foster (Legally Blonde), and Kate Fleetwood, are all in the Supporting Acting in a Musical categories, for playing The Wolf/Cinderella's Prince, Jack, and The Witch respectfully. 

The Witch is one of the hardest roles in musical theatre. Fleetwood played her brilliantly, dark and manipulative. Her performance of Last Midnight was chilling in how casual she roasted the other characters. She is complex, flawed and very possessive of Rapunzel (played gorgeously by Bella Brown, who also has a couple of surprise moments no one was expecting). Savile, along with Jacob Fowler (Rodger's & Hammerstein's Cinderella) covering Rapunzel's Prince gave off very camp and arrogant energy as the two Princes, definitely giving off the charming not sincere personality to Chumisa Dornford-May's Cinderella. Saville's Wolf gives off all the creepy energy needed to make the audience (as well as Gracie McGonagall's Little Red) feel uneasy. 

Jo Foster however is the one who really blew me away. Their version of Jack was so loving, cheeky and youthful. They really did feel like a growing teenager to me. Yes, they can be a bit annoying, but also warm, sweet, determined and loyal. Their version of Giants in the Sky was a true highlight for me, they do have such a gorgeous voice. I would personally love to see them play Tobias in Sweeney Todd - get them doing more Sondheim please. 

And to end on one final point with Jack, I have to say that the Milky White plush puppet is the most adorable thing in the world. 

I am thrilled that Into The Woods has gotten as much recognition as it has 

I love an Into The Woods which is darker, and leaves me being thankful for what I have. This is exactly what Fein's production has done for me. I hope it does as well as it can; despite it having steep competition from all sides from what I have seen and read. Out of everything I have seen in London, this is the one I booked last - but it ended up being the one I was most excited to see (and that is saying something when you take Titanique and my following shows into account). 

Into The Woods ends at the Bridge in May, and whether it is this cast, or the new company, I am sure you are going to have a fantastic time! Now go to the wood, and take care of all the wolves and giants!