A dazzling new production of Stephen Sondheim's beloved musical Into the Woods has arrived in London, offering theatre-goers a sophisticated and thrilling alternative to the traditional Christmas pantomime. Staged at the Bridge Theatre under the direction of Jordan Fein, this revival is being hailed as a masterpiece that honours Sondheim's complex genius while injecting it with fresh, anarchic energy.
A Production That Exceeds Every Expectation
Premiering in December 2025, this staging tackles one of musical theatre's most demanding scores and narratives. Sondheim's work, often considered his magnum opus, requires a perfect balance of irony and sincerity, alongside an ensemble of exceptionally skilled performers. Critics note that Fein's vision doesn't just meet these high demands—it spectacularly surpasses them.
The production achieves this through seamless, cinematic staging and Tom Scutt's enchanting pop-up storybook set. The use of pantomime-inspired costumes and props, which often become comic performers themselves, creates a world that feels both classic and excitingly new. Fein successfully marries Sondheim's sharp American theatricality with the joyous, chaotic spirit of British panto, resulting in a show full of wit, genuine danger, and stunning puppetry.
A Cast Without a Weak Link
In a musical with no single lead, the strength of the entire company is paramount, and this production boasts an impeccably strong ensemble. Jamie Parker and Katie Brayben bring remarkable chemistry and depth to the Baker and the Baker's Wife, transforming their roles from mere narrative devices into a couple with a tender, lived-in relationship.
The story follows their quest to lift a curse by gathering items from famous fairytale characters, leading to collisions with Jack (played with guileless charm by Jo Foster) and a fiercely funny Little Red Riding Hood from Gracie McGonigal. Her performance of I Know Things Now captures the horror of growing up too fast with blistering clarity.
Vocally, Chumisa Dornford-May's Cinderella is a standout, her crystalline soprano described as effortlessly pure. Bella Brown delivers a hauntingly fragile Rapunzel, whose story quietly prepares the audience for the show's emotional climax. The princes, played by Rhys Whitfield and Oliver Savile, are dispatched with gleeful narcissism and perfect comic timing.
A Witch For The Ages
The emotional apex of the show orbits around the Witch, portrayed by Kate Fleetwood. Her performance is a certified masterclass, with the rendition of Last Midnight delivering staggering impact. This moment reportedly brought the opening-night audience close to hysteria, creating the kind of raw, transformative theatre that reminds even jaded audiences of the art form's power.
As the first major London revival of a Sondheim work since the composer's death, the Bridge Theatre's production stands as a fitting and profound tribute. It serves as a powerful reminder of what Sondheim taught us about storytelling, complexity, and empathy. In a Christmas season where the world can feel overwhelmingly dark, this is the fairytale to see: one with teeth, heart, and brilliant intelligence, offering the resonant comfort that No One Is Alone, even in the deepest woods.
