Into the Woods at Noel Coward Theatre Review
The Company of Into the Woods. Photo: Johan Persson
Stephen Sondheim (music and lyrics) and James Lapine’s (book) brilliantly dark take on Grimm’s (to be honest, equally dark) fairy tales enjoyed a critically acclaimed run at The Bridge Theatre earlier this year, nominated for 11 Olivier Awards and winning for Best Lighting Design and Best Musical Revival. It has now transferred to the Noel Coward Theatre in London’s West End with some new faces joining original cast members for this new journey into the rhymes, rhythms and imagination of one of our greatest modern composers.
At the heart of the story are a Baker and his Wife, whose desperation for a child of their own sees them making a deal with their neighbour, a Witch, who will grant their wish in exchange for a few items to be found in the woods: the cow as white as milk, the cape as red as blood, the hair as yellow as corn, the slipper as pure as gold … setting the scene for encounters with the characters who can provide them, as well as plenty more along the way.
This production has lost none of its impact with its change of venue. Set and costume (Tom Scutt), lighting (Aideen Malone) video (Roland Horvath) and sound (Adam Fisher) design are all spectacular. Opening with a bare stage and just the Baker’s work-bench as the story is established, the reveal of the woods – seeming to stretch back for miles – instantly transports us into an epic adventure of cinematic proportions. We mark the Midnight milestones for the Baker’s quest with glorious lighting changes, and the theatre itself seems to shake with the threat of an approaching Giant. It’s truly magical staging.
The direction from Jordan Fein is equally spectacular. He has taken a piece that is full of twists and turns, complex characters with even the good guys having a very dark side, and quick-fire lyrics that are almost too clever for their own good, and made it immediately accessible, powerfully emotional and very, VERY funny. These woods are absolutely full of light and shade. There’s obvious and very well-played comedy from the two Princes – full of self-obsessed posturing and performative chivalry, very relatable bickering between the Baker and his Wife, a bloodthirsty Little Red with a fascination for wolf couture, and – unexpectedly – a Witch whose reactions and sarcasm make her often come across as the most sane and down to earth character in the mix. Every opportunity to make the most of Lapine’s delicious script is taken. The pace is fast without being frantic, and while it’s difficult to pick out a character whose behaviour is beyond reproach, it’s also impossible not to be firmly on their side (yes, even the Stepsisters!). The music, under the supervision of Mark Aspinall, is equally accessible – the tricky rhythms and melodies are a delight, there’s clear diction and beautiful tone from the whole cast, with the underscoring never distracting but totally enhancing the atmosphere.
The cast is an embarrassment of riches, with every character clearly rounded and making an impact. Returning to the role, Gracie McGonigal is a delight as Little Red Ridinghood, a fabulous presence giving serious brat energy coupled with a fearless determination and crystal clear vocals. Kate Fleetwood returns as the Witch, a stunning physical and mental journey from crone to charismatic – the turmoil caused by her “tough love” for Rapunzel (sung to perfection by Fiona Finsbury) is a powerful contrast with the confident and manipulative enchantress she initially presents.
It’s fair to say that Sondheim writes incredibly engaging female characters. These two are no exception, and we also have a strong, independent Cinderella (Simbi Akande), and a Baker’s Wife (Laura Pitt-Pulford) who definitely wears the trousers – two fabulous additions to this West End cast.
But although they are slightly less formidable characters than their female counterparts, the male cast is just as formidable in talent and performance. The Princes (Lucas Koch and Matthew Seadon-Young) offer a brilliantly matched buffoonish bromance, and the two most prominent male characters, Jack (Keith Ramsay) and the Baker (John Dagleish), offer us simple souls, henpecked by a mother and wife respectively, and rather bumbling through their lives and tasks without a clear plan. But it is these two characters who ultimately offer the biggest emotional pull. Ramsay’s Jack is a lovable fool, tugging at the heartstrings with his only friend, Milky White, and offering exceptional, soaring vocals as he sings of the “Giants in the Sky”. But the show’s emotional climax comes when Dagleish as the Baker sings “No More” – after all of the action that has gone before, the stillness of his delivery lets the words really hit home, it’s a devastating moment of loss performed with an inner strength that is full of both heartbreak and hope.
This production fits perfectly into its new home, and has lost none of the impact of its original staging south of the river. Direction, music, characterisation, design and technical elements all combine to make a show that deserves every superlative you can think of, and then some more.
If you did not manage to see Into the Woods during its run at The Bridge, get yourself a ticket. If you did see it … get yourself a ticket. Into the Woods? It’s never a bad time to go, and enjoy this absolute feast for all the senses. It’s theatre at its absolute finest.
Into the Woods plays at the Noel Coward Theatre, booking until 9th January 2027.
★★★★★
Written by Penny for Theatre and Tonic, October 2026.
