National Youth Music Theatre – Into the Woods

Picture: Harry Elleston

Into the Woods was performed by the National Youth Music Theatre at Southwark Playhouse, London.

Star rating: five stars ★ ★ ★ ★ ★

NYMT (National Youth Musical Theatre) has a history of putting on incredible productions of Stephen Sondheim’s work. For a composer who receives a lot of praise for sophisticated and nuanced explorations of older characters, a lot of his work is particularly poignant when performed by younger actors. Last year’s Southwark Playhouse production of Merrily We Roll Along in particular was extraordinarily moving.

It is a delight to report that NYMT has struck gold yet again with this production of Into the Woods. This is a show with childhood at its heart, retelling as it does an assortment of classic fairy tales. As it moves into Act II, we are shown the consequences of glossing over of grey areas as so often occurs in these stories and are left with a moral that is as important for adults as it is for children.

Director Jake Smith makes superb use of his large cast. Libby Todd’s excellent set evokes a Scout camp, and the traditional one-actor role of the narrator is instead given to a group of young campers reading a story around the campfire. They remain onstage throughout the majority of the action, standing in as props, scenery, and even a chorus. Their dedication and focus are absolutely remarkable and they execute Denni Sayers’ complex choreography expertly.

Perhaps the most memorable performance from the original cast was The Witch, as played by Bernadette Peters. This is one of Sondheim’s most surprisingly meaty roles, and Xanthe Gibson takes it on with a maturity and intensity that belies her age. Another standout performer is Sophie Lagden as The Baker’s Wife. This role provides a lot of scope for comedy as well as more intense emotional scenes, and Lagden excels throughout. She is ably matched by a fantastic Olly Adams as The Baker, who is tasked with some of the toughest scenes of heartbreak in the play.

Elsewhere, Phoebe Connolly and Ronav Jain prove a superb comic double act as Little Red and Jack, rivalled only by Marco Dennis and Freddie Tickle as the two princes. While Dennis displays a more human arrogance as Rapunzel’s Prince, Tickle’s performance as Cinderella’s Prince is straight from another planet of self-regard, and that only adds to the hilarity.

Speaking of Rapunzel, Matilda Shapland treats us to some gorgeous moments of vocal performance in that long-haired role, while Keziah Ibe is a sparky and energetic Cinderella, with a phenomenal singing voice of her own. What is remarkable about this production is how even the minor roles are given added sparkle, with Amie Shipley, Martha Charles, Martina Galea Loffreda and Dan Bryant consistently reducing us to fits of laughter in their roles as Cinderella’s stepsisters, stepmother and steward. Special shoutouts must also go to Maya Waghorn as a perfectly creepy yet charismatic Wolf and Eve Knagg as Little Red’s sweet but vicious grandmother.

Sondheim’s classic score sounds brilliant from musical director Nick Chave’s mini-orchestra. Josh Robins oversees the sound design and does a fantastic job – particularly during the spates of attacks from giants where the whole building shakes in distress. Aaron Dootson’s lighting design is also a triumph – with plenty of glorious special effects alongside the highly competent practical work.

It is always a delight to see young performers excelling in musical theatre. There is never a shortage of talented people trying to make it in the industry, but it is particularly exciting when new artists show a talent above and beyond at such a young age. There are many in this production who will surely soon be treading the boards of the West End, and when they do, we won’t know what hit us. Phenomenal work, all.

Ian Bowkett