INTO THE WOODS. Director: Sylvaine Strike. Musical Director: Amy Campbell . Choreography: Naoline Quinzin. Cast: Students of LAMTA. Theatre on the Bay.
BEVERLEY BROMMERT reviews
“Once upon a time…” and “…happily ever after”: these are the familiar parentheses enclosing traditional fairy tales, so entrenched that they have become clichés.
Clichés which are debunked in Stephen Sondheim’s astringent reinvention of perennial fantasies – Cinderella, Little Red Riding Hood, Jack and the Beanstalk and Rapunzel – so that “Be careful what you wish for…” becomes a more appropriate conclusion.
All seems fairly predictable in the first half of the show, humouring the expectation that good will triumph over evil as everyone gets what they deserve. Or thinks they do. Cinders secures her Prince, likewise Rapunzel; magic beans bring prosperity to Jack and his mother, and Red Riding Hood’s succulent little body escapes the predatory Wolf. The childless Baker and his wife, who bind these diverse tales together in their quest for parenthood to break the Witch’s curse, take a bow with their newborn sprig, and (surprise!) we are in “happily ever after” mode.
Enchantment turns into disenchantment
Post interval, enchantment turns into disenchantment through a lucid exploration of consequences. Venturing into the woods, a place of magic and transformation, has brought the protagonists what they sought, but they feel the need to revisit those woods as dissatisfaction with the aftermath of their fulfilled wishes intensifies.
The cardboard cutout figures of folklore have evolved into identifiable human beings, warts and all. More to the point, they have to deal with the tough reality of home-truths if they are to remedy their situation, and the best way to do this is collectively – as they discover.
Does this make Into the Woods a tedious moral sermon? Far from it; on the contrary, its philosophical density is robustly leavened with manic energy and mischief, making it darkly entertaining.
Under the masterful direction of Sylvaine Strike, LAMTA’s young cast delivers a performance shimmering with infectious enjoyment.
Mental refreshment
Inventive tongue-in-cheek treatment of the mundane adds hugely to the fun, such as Jack’s winsome cow Milky Way, and a hen who lays golden eggs. Equally imaginative is the use of nothing more than a ladder and several planks to create and recreate various sets at the drop of a hat.
Marcel Meyer’s subtle unisex costumes underscore the sylvan theme of the production, with a tracery of lines on the fabric evoking both arteries and the texture of bark. An organic connection between human and forest is conveyed further through an impressive tableau of physical theatre as a group of dancers coalesces into a majestic tree before one’s eyes.
Rigorously drilled synchronisation does justice to Naoline Quinzin’s choreography in large ensembles, and vocal proficiency from singers, despite not always achieving the requisite clarity of diction, leaves little to be desired in terms of lung power and projection.
Add to this some sterling portrayals from the leads (notably Matt Blerk’s Baker and Kristin Murison as Little Red), and one realises how handsomely these fledgling actors/singers/dancers are equipped to handle the Triple Threat. Pride Ncube is all that a Narrator should be: articulate, charismatic and confident.
A rejoinder from Cinderella’s Prince, responding to an accusation of unheroic behaviour, mirrors the cheerful, soufflé-light cynicism of Into the Woods: “I was brought up to be Charming, not sincere!”
Small wonder this show has become so popular with audiences who crave mental refreshment.
What: Into the Woods
Where and when: Theatre on the Bay from 24 October to 14 November 2026
Tickets: Webtickets
WS
