Into the Woods

Synopsis

What happens in a fairytale if the story takes the wrong turn in the woods? The Brothers Grimm meet panto with a twist. A childless baker and his wife live under the spell of a witch. In order to lift the spell they must bring the witch a cow as white as milk, a cape as red as blood, hair as yellow as corn and a slipper as pure as gold. On their quest they stumble across a world of familiar fairy tale characters creating confusion and chaos!

Latest User Review

M George - 5 July 2007:

It's great to see productions from the ROH2 journeying up North for performances at the Lowry and 'Into the Woods' is no exception. This fairytale musical by Stephen Sondheim contains a intricate and clever score of memorable music and in this production is performed by an excellent 15 piece orchestra although they could have done with being a little louder and where they were actually situated was a mystery to me! (I think they were behind the stage) Lez Brotherson' simple set works fairly well although some of the 'in the wood' scenes seemed a little sparse and gave the impression of being in a clearing. But this is of little consequence as the performance is carried by the generally captivating performances of rich and varied cast. Most notable are Beverley Klein who, as the witch, shows off a deep and booming alto voice perfectly suited to the character. Anna Francolini and Clive Rowe as the Baker and his wife share good chemistry and present sympathetic human characters. Nic Greenshields and Nicholas Garret are extremely funny as the two princes particularly in their act 2 duet 'Agony' where they debate the pros and cons of infedelity. Almost stealing the show, however, are Peter Caulfield as the lad Jack whose ridiculous love of his cow is strangely touching and Suzanne Toase as Gluttonous Little Red Riding Hood whose dry delivery gains the biggest laughs of the evening but who also, in the latter part of the show, shows a real vulnerability when being comforted by Gillian Kirkpatricks fairly ordinary, but by no means weak, Cinderella. One notable disappointment is Gary Waldhornas the narrator who from the off looks thoroughly disinterested and bored and lacks any presence or, it seems, storytelling ability. It was almost a relief when his 'character' was disposed of not to long into Act two, which, incidentally, sags a little and almost towards the end becomes intolerably sentimental. It is resuced however by the final reprise of the title song which seems to suggest that whatever happens we're never really content and we always want more. Well, if more Sondheim musicals are on offer I'm definately a taker. ...

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