How do you like your fairy tales? Whose versions do you prefer? Is it those by Charles Perrault or those by the Brothers Grimm? James Lapine’s book for Stephen Sondheim’s musical cleverly interweaves four classic fairy tales: Cinderella, Jack and the Beanstalk, Little Red Riding Hood and Rapunzel.
They are held together with an original story of a baker and his wife, made barren by a wicked witch, who forces them to go into the woods and bring back a red cape, a silver shoe, a cow and a strand of yellow hair, if they want to have a baby.
The first act ends happily ever after. But after the interval the characters are forced to go back into the woods and face the results of their self-interested actions and learn a bit of communal responsibility. The second act, bleak and dark, ends unhappily. There is no Fairy Godmother to save them.
The production, directed by Jordan Fein, is notable for its strong ensemble, its acting, its singing and its movement. The latter is directed by Jenny Oglivie. There is a striking spooky woodland set designed by Tom Scutt, which is brilliantly lit by Aideen Malone. There are powerful performances by Kate Fleetwood as the witch and Simbi Akande as Cinderella.
Matthew Seadon-Young is cast as the carnal wolf who fancies Red Riding Hood as a good meal. He also plays a priggish, philandering, hair-blown Prince in love with Cinderella. (“I was brought up to be charming, not sincere,” he says.) He is joined by Lucas Koch, who also plays a Prince, who is equally frustrated and in love with Rapunzel. Together they sing Sondheim’s popular duet, Agony, with amusing camp aplomb.
Into the Woods is a sophisticated musical for sophisticated adults. Sondheim’s music and lyrics are so deft, many will come out of the theatre wanting to hear them again.
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