Into the Woods by SA Performing Arts Centre Review
Photo by Paul Lynch.
Written by Stacy for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Stephen Sondheim’s Into the Woods is no easy feat. Complex, wordy, rhythmically intricate, and morally layered, it demands an astute creative vision and a cast with both vocal dexterity and emotional depth. SA Performing Arts Centre’s recent production at The Customs House not only embraced the musical’s ambition but delivered it with confidence, clarity, and a creative spark that left a lasting impression.
From the very first strains of “Once Upon a Time,” it was evident this production had direction in spades—both literally and theatrically. The staging, helmed by Maria Crocker (whose vision deserves strong applause), was refreshingly fluid. Rather than leaning solely on the traditional fairytale aesthetic, the production took a bold step into the contemporary. Characters were costumed in a mix of modern styles—trackies, festival wear, skater looks and everyday casual clothing—which immediately reframed the narrative in a recognisably present-day world. This choice wasn’t just visual; it refracted the themes of the show through a fresh, relatable lens. The forest became a metaphor not just for the unknown, but for the chaos and complexity of modern life.
Perhaps most delightfully, local references were sprinkled throughout, with a nod to the beloved North East bakery Gregg's getting one of the biggest laughs of the night. These touches weren’t gimmicks—they were smart, subtle ways of reminding us that the tales Sondheim and Lapine explored are not locked in a mythical past but are alive in the here and now. By rooting the action in the familiar, the production made the characters’ struggles—family, loss, temptation, ambition—feel immediate and universal.
Vocally, the cast met Sondheim’s challenges head-on. The crisp diction in the rapid-fire lyrics of “Your Fault” and “Last Midnight” ensured that no nuance was lost. Standout performances included the Witch (Jada Langley), who commanded the stage with a thrilling combination of menace and vulnerability, and the Baker’s Wife (Scarlett Elizabeth Robinson), whose rendition of “Moments in the Woods” was both vocally rich and poignantly acted. The Baker (Finlay Purvis) brought an earnest depth to the role, anchoring the story with warmth and sincerity, while Little Red Riding Hood (Ella Walton) delivered her scenes with razor-sharp comic timing, and a strong, clear vocal. Jack (Poppy Keith), too, was a delight—naïve but earnest—with a sweet, heartfelt rendition of “Giants in the Sky” that captured both the wonder and confusion of growing up.
Every performer on stage—seemed deeply invested in their role. There was a generosity of spirit in the ensemble scenes, particularly in the opening and finale, where the whole company wove together the narrative threads with cohesion and energy. It’s no small feat to balance individual performances with ensemble integrity, but this cast managed both with professionalism far beyond their years.
Musically, the production was tight and impressively polished. Under the assured musical direction of James Robert Hedges, the orchestra, though modest in size, delivered Sondheim’s challenging score with clarity and emotional resonance, never overpowering the singers but supporting them with nuanced dynamics and impeccable timing. Choreography by Gina King was equally thoughtful, rather than overwhelming the narrative, movement was woven subtly and effectively throughout. These choreographic elements helped anchor the production firmly in the modern day, adding rhythm, energy, and a contemporary physicality that enhanced rather than distracted from the storytelling.
In short, SA Performing Arts Centre has delivered a rich, mature, and impressively cohesive production of one of musical theatre’s most challenging works. Their contemporary interpretation—with its modern styling, regional flavour, and emotional intelligence—brought Into the Woods firmly into the 21st century, making it feel as vital and relevant as ever. Sondheim may be ambitious, but so is this college—and they’ve certainly proven they’re more than up to the task.
Into the Woods plays at The Customs House until 5 June 2025
★★★★★
