Into The Woods - Bridge Theatre - Review

And take extra care with strangers

Even flowers have their dangers

And though scary is exciting

Nice is different than good.

What springs to mind when you think of fairy tales? Be honest here, but I can't imagine that it's dark and at times twisted worlds of the Brothers Grimm, but instead brightly coloured dreamscapes of princesses, talking animals and happily ever afters. The disney-fied versions, if you will. And that's okay, but that isn't what I am going to be talking about here. This is 'Into The Woods', Stephen Sondheim and James Lapine's exploration of fairy tales, the consequences of happy ever after, and the ideas of being careful what you wish for.

The Baker (Jamie Parker) and his wife (Katie Brayben) want nothing more than a child, but a visit from their strange neighbour, the Witch (Kate Fleetwood) reveals that there is no child in their future unless they can find the items that will break the curse. And these items belong to a plethora of well known fairy tale characters, from Jack (of beanstalk fame), played by Jo Foster and Little Red Riding Hood (Gracie McGonigal) to Cinderella (Chumisa Dornford-May) and Rapunzel (Bella Brown), fairy tales intertwine and crossover as everyone faces their own missions to get their wish.

Jamie Parker's Baker may fuss, fumble and bumble, but he is driven by both determination to lift the curse and love for his wife. The woods are there to challenge him, and as an audience member, you find yourself willing him on. He's kindhearted, honest and instantly lovable, with Parker earning many a laugh. Brayben creates a brave, impassioned Baker's Wife, a character who pushes the idea of just how far would you go to get what you want, blurring the lines between right and wrong and creating a delightful double act with Parker.

The Witch, perhaps one of most iconic creations of late great Sondheim, is a marathon of a role that appears to be a walk in the park for the powerhouse that is Kate Fleetwood. She commands the stage with precise, calculated movement both carefully taking in everything that is happening and ruthlessly judging those around her for their choices. Her rendition of 'Last Midnight' will stay with you as she blurs wicked with right and light with dark.

Injecting a childlike innocence into the twisted world of dark fairy tales is Jo Foster's Jack, not the brightest but full of heart. Their best friend is Milky White, the puppet winning the adoration of audience members from the first appearance, cuddled and loved throughout as the wide eyed Jack does whatever they can to keep their beloved pet safe and their relationship with Julie Jupp as their mother is charming. Gracie McGonigal's Little Red Riding Hood is unafraid, fascinated by the strange world of the woods that is opening up around her, but her easily led side gets her into all sorts of trouble.

Chumisa Dornford-May's Cinderella is truthful, kind and all together relatable, illustrating how being trapped can become safe, and how a simple wish can escalate. She hates decisions, also relatable, and runs away from complicated choices, but ultimately she wants to be happy and wants those around her to feel the same. Bella Brown's Rapunzel is a tortured soul, delving into the darkness of her tale and exploring the relationship between her and the witch with a skilful balance. And of course, you can't have fairy tales without a prince charming, or in this case, two. Oliver Savile and Rhys Whitfield play Cinderella and Rapunzel's princes respectively, earning perhaps some of the biggest laughs as they argue over who is in the most woe and speak iconic lines such as 'I was raised to be charming, not sincere'.

Away from the extraordinary cast, there is another star of the stage that we need to talk about here and that is Tom Scutt's stunning set and costuming, partnered with with Aideen Malone's lighting. Gasps scatter through the audience as the woods are revealed for the first time, Malone's lighting breaking through the leaves creating mottled forest floors, naturalistic spotlights and shadows in which secrets can lurk. Throughout grand costumes look like something from a classical painting, and the music soars from the orchestra located up high either side of the stage. It truly is a sight to behold.

This is a production that is crammed full of clever, witty songs that linger and worm their way into your brain, and whilst you could be fooled into thinking it's charming fairy tale of a story, this new version is brave and bold, diving into the darkness and embracing it with warmth. There are moments of gore, destruction, and loss, and despite its fairy tale characters, there are elements of truth and reality as this show explores dreams, hopes, desires and wishes and teaches us to be careful about our choices, who we trust, and ultimately what we wish for.