Into the Woods

Into the Woods by Stephen Sondheim and James Lapine is a richly layered musical that weaves together familiar fairy tale characters - Cinderella, Little Red Riding Hood, Rapunzel, and a childless Baker and his wife - into a single, interlocking story set in a mysterious forest. What begins as a playful reimagining of classic tales gradually unfolds into something deeper and more thought-provoking, exploring the consequences of wishes, the complexity of morality, and the realities that follow ‘happily ever after.’ It has long been my favourite musical of all time, not only for its intricate, intelligent score and lyrical brilliance, but also for its emotional depth, dark humour, and the way it refuses to offer easy answers, instead inviting audiences to reflect on responsibility, loss, and what it truly means to grow up.

Taking on a musical by Stephen Sondheim is always a brave and ambitious choice for any society, given the intricate score, rapid-fire lyrics, and emotional nuance required to truly do his work justice. Grantham Operatic Society decided to rise to that challenge this year with their production of Into the Woods. As a show I hold in the very highest regard, I always approach new productions with a degree of caution, aware of just how easily its delicate balance of humour, darkness, and musical complexity can falter. However, I’m delighted to say that Grantham Operatic Society not only met those expectations but exceeded them, delivering a production that was both confident and deeply respectful of the material.

Before turning to the individual performances on stage, it is important to highlight who, for me, proved to be the true star of the production: Musical Director, Samantha Kerby-Hall. From the opening bars, it was clear she had a deep and intuitive understanding of Stephen Sondheim’s intricate score, bringing out both its playfulness and its darker undertones with remarkable clarity. Her eight-piece orchestra played with precision and sensitivity throughout, capturing the shifting moods of Into the Woods while never overwhelming the performers on stage. It was equally evident that Samantha had worked tirelessly with her cast, guiding them to navigate the dense, fast-paced lyrics and master the show’s famously complex musical phrasing with confidence and control. The result was a production in which the music felt fully alive, underpinning and elevating every moment of the storytelling.

Among the many intertwining stories, the Baker stands out as one of the more prominent roles—though Into the Woods is, at its core, very much an ensemble piece. Portrayed by Steve Sale, the Baker was thoughtfully realised from the outset, capturing the character’s initial hesitancy, vulnerability, and slightly beleaguered nature with great sensitivity. There were some lovely, understated touches in his performance, alongside well-judged comic timing that never felt overplayed. As the story unfolded, his character journey was carefully and convincingly charted, growing into a figure of greater strength and resolve as events forced him to take control. Vocally, he offered a warm, well-controlled baritone, most notably in ‘No More,’ which was delivered with sincerity and poise. His rapport with the Baker’s Wife felt entirely natural and convincingly developed, adding real emotional weight to their shared journey.

Equally compelling was Becca Sale as the Baker’s Wife, delivering a thoroughly accomplished and engaging performance. She presented a finely detailed portrayal of a woman who is determined, resourceful, and acutely aware of what she wants, pursuing it with drive and no small amount of cunning charm. There was a delightful sense of wit and emotional intelligence in her characterisation, balancing moments of playful scheming with genuine warmth and vulnerability. Her evolving relationship with the Baker was beautifully drawn, allowing their rekindled connection to feel both natural and touching as the story progressed. In Act Two, her internal conflict, particularly in her encounter with the Cinderella’s Prince, was handled with nuance and credibility, adding real emotional complexity. Vocally, she was outstanding throughout, with a rich, expressive tone, and ‘Moment in the Woods’ was both acted and sung with exceptional skill, standing out as a particular highlight of the production.

Turning to the third of the central figures, the Witch is a role with formidable expectations attached, not least given its iconic origins in the Broadway production in which she was played by Bernadette Peters. In this production, Sonya Mahony approached the role with clear commitment and delivered many strong moments. Her physical characterisation in the crone sequence was particularly effective, with well-observed hobbling and movement choices that helped establish the transformation convincingly. There were a few points where sharper diction would have improved clarity, and a couple of instances where entries into musical numbers felt slightly uncertain; however, she handled the rapid-fire, tongue-twisting passages very well, and brought a pleasing characterful edge with occasional rolled ‘r’ sounds. ‘Stay With Me’ was delivered with genuine emotional feeling and excellent vocal control, standing out as one of her most engaging sections. Overall, there was a clear sense of commitment to the role, with several thoughtful and well-judged interpretative choices throughout.

Cinderella, played by Millie Sheppard, was an absolute delight. From her first appearance she radiated warmth, charm, and an infectious energy that made her consistently compelling to watch. What made the portrayal particularly impressive was the ease with which she balanced humour and emotional depth, moving seamlessly between lightness and vulnerability. Millie’s Cinderella felt fully alive throughout, often communicating as much through her expressive eyes as through her dialogue, at times suggesting inner conflict and quietly holding back tears with striking subtlety. Vocally, she was superb, with a clear, rich soprano that suited the role beautifully. ‘On the Steps of the Palace’ was delivered with excellent wit and agility, capturing Cinderella’s indecision with real finesse, while in Act Two her performance deepened further. Her duet with Steve Sale in ‘No One is Alone’ was especially powerful, beautifully judged and emotionally resonant. Overall, it was a performance full of intelligence, heart, and charm, and one of the most memorable of the production.

Moving on to Jack, played by Charlotte Scorror, this was a bold, energetic and committed interpretation that showed real confidence and enthusiasm throughout. From the outset she threw herself into Jack’s world with admirable abandon, creating a character full of life and momentum, and she worked particularly well in her interaction with Milky White, giving their relationship warmth and clarity. Her Cockney lilt was consistent and well sustained, although it did feel like an unexpected stylistic choice given that none of the other characters, including Jack’s Mother, shared a similar accent. At times the performance leaned towards a broader, more pantomimic style, where a little more restraint and subtlety might have allowed greater contrast and nuance to emerge. However, Charlotte showed strong voice control in ‘Giants in the Sky,’ delivered with excellent physical storytelling and a clear sense of Jack’s emotional journey. Overall, it was a performance full of energy and commitment, with several well-realised moments.

Little Red Riding Hood, played by Evie Cassie, was another excellent performance. I did feel it took a short while for her to fully settle into the role, but once she did, she revealed a confident and engaging stage presence. Her comic characterisation was particularly effective, striking just the right balance between innocence and growing awareness, and she brought real charm to the part throughout. ‘I Know Things Now’ was delivered with a pleasingly melodic voice and strong storytelling, clearly charting Little Red’s shift in understanding with clarity and humour. Evie also showed good responsiveness on stage, reacting naturally to other characters and helping to keep scenes lively and connected. Overall, it was a warm, well-judged and very accomplished performance.

John Palmer, as Cinderella’s Prince, was superb and very funny, embodying the character’s vanity and egotism with real flair. He was deliciously smarmy throughout, leaning fully into the role’s self-importance while never losing control of the comedy. At times, a touch more depth and variation in tone would have added greater emotional resonance, particularly in his final scene with Cinderella, allowing the character’s arc to land with a little more weight. However, his scenes with Becca Sale were beautifully handled, with excellent comic timing and a strong sense of interplay between the characters that made their encounters consistently entertaining.

This carried through into his partnership with Kieran Owen as Rapunzel’s Prince in ‘Agony,’ which proved to be one of the undoubted comic highlights of the evening. Both performers attacked the number with evident relish, delivering it with expert timing and clear enjoyment, and it was obvious they were having a great deal of fun on stage. Their voices were strong and clear throughout, and the physical comedy, such as the shirt ripping, exaggerated posing, and thigh slapping, landed perfectly, drawing some of the biggest laughs of the production.

Rapunzel, played by Bethan Stanley, was a strong and engaging portrayal, embodying both the vulnerability and slight hysteria of a young woman who has spent years confined to a tower. There was a convincing emotional fragility to her performance, balanced by moments of unexpected humour, and she sang with a beautiful, clear high soprano that suited the role perfectly. She and Sonya Mahony also brought out the comic interplay in ‘Our Little World’ very effectively, allowing the number to land with warmth and wit. In contrast, Elaine Bishop was less vulnerable and more forthright in her dry, deadpan and sharply observed portrayal of Jack’s Mother, leaning into practicality rather than sentimentality, providing a steady, no-nonsense presence within the larger group scenes.

Heidi Clayton as the Narrator and David Wright as the Mysterious Man both delivered assured performances in two pivotal guiding roles. Heidi was particularly impressive, with incredibly clean, crisp diction that made every line effortlessly clear, alongside a calm, reassuring presence that kept the storytelling grounded and very watchable throughout. Her performance was controlled and confident, providing a steady anchor for the narrative. David Wright also brought a strong sense of stage presence and authority to the Mysterious Man, though there were moments where a lighter, more ethereal quality might have better served the character’s enigmatic, almost spirit-like nature. At times his portrayal felt a little too grounded and robust for such a mysterious figure. That said, his rendition of ‘No More’ with Steve Sale was excellent, with both performers’ voices blending and complementing each other beautifully to create a genuinely moving musical moment.

Two smaller comic roles that I particularly enjoyed watching came from Jack Dennis as the Wolf and Daniel Ferguson as the Steward, both of whom brought real energy and personality to their briefer but still memorable appearances. Jack’s Wolf was suitably playful yet unsettling, delivered with a bold, visceral edge and just the right amount of camp. His physical comedy was particularly effective, licking his fingers and casually flossing his teeth after devouring Little Red made for a deliciously dark comic moment that landed brilliantly with the audience. Daniel’s Steward was equally well realised, offering a neatly observed comic turn built on sharp facial expressions and a strong sense of indignation as events unravelled around him. His reactions were consistently well timed and highly watchable, with an exaggerated sense of outrage that heightened the humour of each exchange.

My favourite comic character performances came from Cinderella’s stepfamily: Lottie Morris as Lucinda, Laura Todd as Florinda, and Daniella Bridge as the Stepmother, all of whom were simply wonderful in their roles. The trio worked brilliantly together, constantly preening, pouting, and reacting off one another with sharp comic precision. Daniella Bridge’s Stepmother was loud, uncouth, and deliciously vile, delivered with a hard, cutting edge and excellent comic timing that made every appearance a highlight. Laura Todd’s Florinda matched this energy with equal confidence, helping to create a tightly knit and highly entertaining trio dynamic. Lottie Morris as Lucinda, however, stood out for her exceptional attention to detail and instinctive comic awareness. Every gesture and expression felt carefully considered yet entirely natural, and she demonstrated a real flair for comedy that consistently drew focus without ever unbalancing the group. Her performance had a precision and sharpness that made Lucinda especially memorable, while still blending seamlessly into the family group. Together, the three created one of the most consistently enjoyable comic threads of the production.

Support in the minor roles was also strong across the board, with Suzanne Webb as the Giant’s Wife, Helen Gray as Cinderella’s Mother, Daniel Poole as Cinderella’s Father, and Paula Yeomans-Hill as Granny all bringing clear character detail and helping to flesh out the world of the story with confidence and commitment. Special mention must go to Austin Stanley as Milky White, who brought the cow to life with real skill and dexterity, delivering an impressively expressive piece of puppetry that became a memorable feature in itself. The ensemble was also musically solid, adding depth and richness to the vocal sound and handling some intricate choreography with assurance.

However, while the ensemble was undoubtedly very capable, there were moments where I questioned whether such a large onstage presence was entirely necessary for Into the Woods. Traditionally, the piece often relies on a more intimate approach, allowing the isolation and vulnerability of the main characters to come through more strongly -particularly in the second act, and especially as they journey into the woods itself, where a sense of loneliness and moral uncertainty is central. At times here, the added ensemble presence risked diluting that atmosphere, occasionally drawing focus in moments such as ‘On the Steps of the Palace’ and the slipper sequence. That said, it is also entirely understandable within a theatre society context, where balancing strong membership numbers with a single annual production is never straightforward, and the ambition to involve as many performers as possible is itself commendable.

Direction by Adam Bishop and choreography by Abbirose Adey were both clearly in experienced and capable hands, with a strong overall sense of style and control throughout the production. There was some excellent attention to detail in the staging, alongside thoughtfully stylised movement that helped give the piece a distinctive visual identity. I particularly enjoyed the slow-motion effect used in the opening ‘houses’ sequence, which was both imaginative and effectively realised, and the pace of the production was maintained with confidence throughout. The choreography for large ensemble moments was especially impressive, with carefully orchestrated movement that saw the cast weaving in and out of each other in a cohesive and visually engaging way. I also particularly enjoyed the choreography in ‘It Takes Two,’ which was playful, light, and charmingly silly, allowing the actors to briefly rediscover the innocence of two young sweethearts. Overall, the staging choices consistently supported the storytelling while adding visual interest and energy.

Congratulations must go to Adam Bishop, Anthony Fletcher and David Wright for the set design, which established a striking and effective visual world for the production. I particularly liked the stark, stylised backdrop of bare trees, which was cleverly echoed by three freestanding tree trunks downstage that initially appeared remarkably natural before it became clear they were constructed pieces. There was also some imaginative use of the book covers, removed to reveal the interior spaces of the houses which were simple in design, but functional and effective in storytelling terms. Rapunzel’s Tower and the Hazel Tree felt a little less refined against the more cohesive painted backdrop aesthetic. While clearly well-intentioned, these elements felt slightly more basic in execution and did not quite integrate seamlessly with the overall visual style. That said, scene changes, overseen by stage manager Jessica Smith, were impressively slick and unobtrusive, maintaining pace and flow without disrupting the action on stage.

Lighting and sound were both excellent throughout, working in tandem to enhance mood, support the storytelling, and subtly underline shifts in atmosphere without ever drawing attention away from the action on stage. The lighting design in particular helped to distinguish locations and emotional tones effectively, while the soundscape supported the score with clarity and balance. A special mention must go to the mastering of the radio microphones, which was superb. Vocal levels were consistently well balanced, ensuring that even in the most densely layered musical passages every lyric remained clear and intelligible. Overall, the technical elements contributed significantly to the professionalism of the production.

Costumes by Rosemary Gibson and props by Kerry Cameron were generally effective and contributed well to the overall look of the production. The garishly coloured, almost Bridgerton-inspired dresses worn by the stepfamily were a particular highlight, vividly characterising their status and vanity, while the Baker and Baker’s Wife were dressed in a suitably understated way that suited their grounded, practical nature. Rapunzel’s costume was also especially effective, and the golden harp made for a striking and well-realised prop. The blood-stained Grandma was a nicely judged comic touch, and the second cow created by Rosemary also raised some strong laughs from the audience. There were a couple of minor elements that could have been improved; Little Red Riding Hood’s cape, for example, would have benefited from an iron, and it felt like Jack’s Mother might have been afforded a more obviously ‘wealthy’ costume to underline her change in circumstance. Overall, however, the costume and props supported the storytelling well and added several memorable visual touches.

A huge thank you must go to Grantham Operatic Society for having the courage to go Into the Woods - and what a rewarding decision it proved to be. It was an absolute treat to see my favourite musical brought to the Guildhall stage, and I very much hope the society continues to explore more Stephen Sondheim in the future, as this production showed just how well they can rise to his challenges with skill and ambition. Massive congratulations must go to Adam, Sam, and production manager, Steve Sale, for delivering an impressively accomplished and cohesive show from start to finish. I thoroughly enjoyed the production and was genuinely blown away by the level of talent on display. It was a thoughtful, entertaining, and moving evening of theatre, and a real privilege to see such a well-loved musical realised with so much commitment. Thank you.

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