Into the Woods

Once upon a time, in collaboration with James Lapine, the legendary Stephen Sondheim (who sadly passed in November 2021) created a musical that intertwined the plots of several Brothers Grimm fairy tales. This is Into the Woods. It’s a story that contains all the elements of a fairytale: a princess in a tower, a prince (or two), a beanstalk, a witch, a quest for elusive items, a predatory wolf and a mistreated maiden with a dream.

I first encountered the story when undertaking a class on fairytales at uni and later experienced the musical via the Disney film, falling in love with the lyrical production and its colourful array of characters with questionable morals. However, a stage production eluded me – until now! MilkBar were invited to attend a performance by acclaimed Sondheim repertory company, Watch This at Meat Market, and I couldn’t have been more excited! First conceived back in 2019, the show has had a bumpy ride to the stage battling COVID postponements. Two years and four season dates later, the show was finally able to go on.

In a small village fringed by a vast forest, fairytale characters wrestle with unknown curses, untold desires and unnamed danger. There’s no avoiding the dark and dissonant woods, into which they all must venture into, to pursue their dreams and confront their demons. As they bumble forth in blind pursuit of their own ends, their tales entangle and entwine until the consequences of their actions return to haunt them with disastrous results. It’s an epic fairy tale about wishes, family and the choices we make.

‘Within our shared cultural imagination, “the woods” are a fertile metaphorical space – a place into which we (like the central characters of the play) must inevitably venture in order to confront unforeseen forces, the wiliest demons, our most intimate desires and, most formidable of all obstacles, our truest selves,’ comment co-Artistic Directors Sonya Suares and Melanie Hillman.

It’s a sentiment that reflects the situation we find ourselves in today – wandering through the woods of the pandemic.

‘… the deeper provocations about life, death, human nature, moral turpitude and the late twentieth/early twenty-first century materialism run like electric currents through this work. Who are “we”? Who are “they”? Who is included/alienated/demonised? As I go about doggedly pursuing my wants, do I inevitably trample on others? And if so, does that matter?’

Finding our seats was like stepping into an enchanted wood itself. The space had been transformed into an overgrown set with soft, romantic lighting that glowed with otherworldliness. The stage was separated into sections and brass chandeliers hung overhead to create an intimate space for the audience perched on the fringe of ‘the wood’. As the lights dimmed, we were introduced to the diverse and talented cast – many of whom play dual roles.

A few standouts: Nick Simpson-Deeks moved seamlessly from the creepy, predatory wolf to Cinderella’s prancing, dashing prince (‘I was raised to be charming, not sincere’). And, alongside Raphael Wong’s prince, delivered ‘Agony’, my absolute favourite number, performed by both to hysterically delightful perfection. Cherine Peck’s Witch was powerful and passionate, particularly during her rendition of ‘Last Midnight’, and Ava Madon’s beautiful soprano as Cinderella was positively angelic. James Millar was another strong performer, although somewhat disconcertingly, I’ve previously seen his excellent portrayal of Miss Trunchbull in Matilda and at times the Baker was possessed by her essence!

Overall, Into the Woods is a fun musical – a great introduction for someone unfamiliar. It’s also not a simple production – the intertwining character lyrics, an ensemble cast, and the sheer physical movement around the space is complex. It was clear that everyone involved had worked tirelessly and put in immense effort to produce a show that was flawless and fully immersive. The applause and standing ovation were well deserved.

The Arts industry is one that has suffered enormously over the last few years with little support. As we learn to live with COVID, I urge everyone to support the Arts and go see a stage production/musical performance/comedy show – whatever it may be – and support the artists who live to entertain.