Into The woods

St Augustine’s brought Into the Woods to the stage with imagination and confidence, weaving together the familiar tales of Cinderella, Jack, Little Red Riding-hood, Rapunzel and more, all drawn into the Baker and Baker’s Wife’s quest to lift a curse placed upon their home. As wishes collide and consequences unfold, the company guided the audience from fairytale brightness into the darker, more reflective world of Sondheim’s second act, where characters must face the cost of the stories they thought they knew.

Upon entering the auditorium, the audience was met with an open stage that at once set up the production’s visual identity. The woods dominated the main playing area, not as a static backdrop but as a living environment that shaped every moment of the storytelling. Trees could be moved and re‑formed to create new spaces, allowing Rapunzel’s tower to appear naturally from the landscape and giving the company a flexible, responsive world in which to play. A concealed exit behind Cinderella’s mother tree at centre stage added an elegant touch, reinforcing the sense of hidden pathways and secret turnings within the forest.

The set extended down into the band pit, giving performers multiple access points that kept movement fluid and visually engaging. Cinderella’s home nestled stage left, Jack’s house balanced it stage right, and the bakery counter, dropped slightly below the main stage, sat at the heart of the action. Each location was clearly defined yet felt organically grown from the same woodland world, supporting the show’s interwoven narratives and giving the performers a rich, cohesive environment in which to tell their story.

Directed by Matthew Williams, the production moved with a lively pace that kept the audience engaged throughout, each transition handled with clarity and purpose. Matthew encouraged the cast to perform with confidence, and they responded with a maturity that allowed the humour, heart, and darker turns of Into the Woods to land effectively. The use of the stage was consistently thoughtful: performers navigated multiple levels and entrances with ease, making full use of the flexible woodland environment and ensuring that every corner of the set contributed to the storytelling. This spatial awareness, combined with disciplined delivery, gave the production a cohesive rhythm that supported both narrative momentum and emotional depth.

Musical Director Toni Hudson, supported by Assistant Musical Director Matthew Haworth, led the company with assurance, shaping a musical landscape that was both warm and disciplined. Under their guidance, the cast delivered clean, confident harmonies across the full range of Sondheim’s demanding score. Lead vocals were strong throughout, each performer leaning into their character’s musical identity while keeping crisp diction, no small achievement given the composer’s famously intricate phrasing and rapid‑fire lyrical passages. The layering of vocals, particularly in moments where multiple narrative threads collided, was handled with clarity and care, allowing the audience to follow the storytelling without losing the richness of the musical texture. The music complemented the vocals without overwhelming them, the orchestra sounded great throughout. 

Lighting design by Matthew Williams, run by Jack Briggs, created an atmosphere that supported the storytelling at every turn. Their work shaped the woods into a space of shifting moods, playful one moment, foreboding the next, with changes in colour, intensity, and focus guiding the audience through the show’s emotional landscape. Subtle isolations highlighted key moments without ever feeling intrusive, while broader washes allowed ensemble scenes to breathe. Cues landed cleanly, enhancing transitions and giving the production a visual environment that deepened the narrative and complemented the strong work happening onstage.

Sound operative Emily Billington, supported by mic technician Kiera Warren, managed the audio with calm professionalism throughout the performance. A brief loss of sound on the Witch was quickly found and rectified. Thereafter sound levels were well balanced, cues landed cleanly, and dialogue remained crisp.

Costumes added further depth, capturing the brightness of the fairytale world while allowing room for the darker undertones that appear as the story unfolds.

The principal performances were led with assurance and individuality, each actor leaning into their character’s emotional and musical identity while staying attentive to the ensemble nature of the piece. Narrator Isabella Harvey‑Higgins anchored the storytelling with clarity and composure, guiding the audience through the intertwining tales without overshadowing the action onstage.

Maria Hodges gave a sincere and grounded performance as the Baker, shaping the character’s emotional journey with thoughtful detail. She balanced humour, frustration, and vulnerability with ease, allowing the audience to invest fully in the Baker’s moral dilemmas. Emily Robinson, as the Baker’s Wife, matched her partner beautifully. Emily’s warmth, wit, and confident vocals added depth to the role, and her scenes were marked by lively curiosity and emotional honesty that made her character compelling throughout.

As the Witch, Chloe Allison commanded the stage with superb vocals and striking presence. She embraced both the menace and the fragility of the role, delivering Sondheim’s demanding material with clarity and power. Her mask work added a dramatic visual edge without limiting her emotional expression, and her transformation was handled with impressive control.

Ruby McGuigan offered a poised and charming Cinderella, her lovely vocals giving the character a clear emotional through‑line. Ruby captured both the fairytale grace and the quiet uncertainty of Cinderella’s journey, shaping a performance that felt honest and engaging. Gabriella Radice shone as Little Red Riding-hood, bringing sass, confidence, and excellent facial expression to every moment. Her strong vocals and lively character choices made her scenes consistently entertaining.

Theo McDowell was an engaging Jack, capturing innocence, enthusiasm, and a sense of wonder that suited the role perfectly. His rendition of Giants in the Sky was confidently sung and full of youthful excitement, marking one of the production’s standout musical moments.

Cinderella’s Prince, played by Ava Clarke, was delightfully insincere and full of comic flair. Ava leaned into the character’s exaggerated charm with great timing, creating a performance that was both playful and sharply seen. Amir Mohamed matched her energy as Rapunzel’s Prince, and together they delivered a memorable Agony, played with gusto and a wonderfully competitive edge. Amir also appeared as Mr Wolf, offering a confident and characterful performance that contrasted neatly with his regal swagger.

Jack’s Mother, played with lively exasperation and secure vocals, by Erin Roberts, grounded Jack’s world with humour and emotional clarity. Katie Johnston provided a lovely dual performance as Rapunzel and Cinderella’s Mother, moving seamlessly between innocence and ethereal calm, her vocals warm and assured throughout. Mystery Man Cora Juriansz added quiet authority and intrigue, supporting the story with a composed and steady presence.

Cinderella’s Stepsisters, Lucinda, Lily Broughton and Florinda, Ayda-Rose Naylor, were lively and well‑timed, embracing bold character choices and sharp comic energy. Harriet Derbyshire completed the trio as the Stepmother, delivering poised humour and confident command. Together, they created a delightfully chaotic family unit that added vibrancy to every scene they entered.

The Giant, realised through a striking head worked by Megan Starr, added dramatic impact with thunderous footsteps that shook the trees. Chief Stewards Noah Skipp and Declan Farndon, supported by Brody Fitzpatrick and Rory Costigan, contributed neat comic detail and confident character work. Ava Hepper brought spirited energy to Granny, William Balshaw offered gentle warmth as Cinderella’s Father, Bella Parkinson appeared as Snow White, and Sleeping Beauty, played by Ava Taylor, made a playful entrance on the arms of the princes.

The ensemble and puppeteers worked with commitment, bolstering vocals, movement, and atmosphere throughout. Their coordinated presence enriched the staging and supported every principal moment, ensuring the world of the woods felt full, responsive, and alive.

This was a thoughtful and well‑realised Into the Woods, supported by dedicated performers, musicians, backstage teams, technical departments, and front‑of‑house staff. My thanks to St Augustine’s for their hospitality and professionalism, and congratulations to all involved for an enjoyable evening in the theatre.

 

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