Music and Lyrics by Stephen Sondheim
Book by James Lapine
Directed by Tai Remus Elliot and Hunter King
Review by Dominic Corr
There’s a particular thrill in watching a student‑led company tackle Sondheim. His music is famously intricate, his lyrics unforgiving, and his storytelling a labyrinth of tonal shifts and moral ambiguity. Yet the Edinburgh University Savoy Opera Group’s 2026 production of Into the Woods embraces that challenge with gusto, producing a show that is musically robust, visually charming, and emotionally grounded—even when the Church Hill Theatre’s technical quirks threaten to pull focus.
Intertwining the stories of familiar fairytale characters we all know, such as Cinderella, Jack, Little Red Riding Hood, Rapunzel, and a childless Baker and his Wife, Sondheim’s epic is no easy show. As they’re all sent on quests that promise to grant their deepest wishes. As their paths cross in the mysterious woods, each character achieves what they desire, only to discover in the second half that actions have consequences, wishes carry hidden costs, and happily‑ever‑after is far more complicated than the stories suggest. Through its darkly comic twists and moral entanglements, the musical explores responsibility, community, and the messy, human truths that lie beneath the fairytales we think we know.
Co‑directors Tai Remus Elliot and Hunter King shape the sprawling narrative with admirable clarity. Their approach leans into the fairytale logic of the piece, allowing the first act’s whimsy to bloom before tightening the reins for the darker, more introspective second half. The pacing, however, is not always consistent; the ends of both acts lose some momentum, with transitions that feel slightly laboured. Still, the ambition is unmistakable. They navigate the venue’s limitations: narrow wings, tricky acoustics, and a stage that can swallow quieter moments with ingenuity. The ensemble is kept in near‑constant motion, weaving through the woods with a sense of purpose that keeps the narrative threads from tangling. Even when the technical reach exceeds the production’s grasp, the intention behind every choice is clear.
The costuming leans into storybook charm: bold colours, layered fabrics, and silhouettes that evoke classic fairytale illustrations. It’s a cohesive aesthetic that helps unify the sprawling cast of characters. The set, meanwhile, is a patchwork of handmade towers, cardboard trees, and a tangle of wires that gesture toward a modern twist—though this contemporary element feels underdeveloped and somewhat disconnected from the rest of the design. Lighting adds depth and atmosphere, bathing the woods in rich greens and eerie shadows, but the lack of consistent frontal lighting means that some performances lose facial detail at key emotional moments.
Where this production truly excels is in its musical execution. Sondheim’s score is a beast, yet the cast and orchestra handle it with remarkable assurance. The ensemble singing is crisp, confident, and expressive, and the orchestra—under the swing of Abby Bailey and Nonny Jones—delivers a polished, full‑bodied sound that elevates the entire evening. It’s here that the production shines brightest: the company’s command of the score is not only technically impressive but emotionally resonant, proving that even the toughest musical theatre writing can soar when approached with commitment and intelligence.
At the centre of the production are Shaun Hamilton and Rosie Wilkinson as the Baker and the Baker’s Wife. Their chemistry is warm and believable, grounding the show’s emotional core. Hamilton brings a gentle sincerity to the Baker, his vocals rich and controlled, particularly in the second act’s more introspective moments. Wilkinson, meanwhile, is a standout in every respect: vocally assured, comedically sharp, and emotionally nuanced. Her timing is impeccable, and she navigates the character’s moral complexity with ease. Lauren Green’s Witch is another highlight, delivering powerhouse vocals that cut cleanly through the ensemble.
Her transformation scene is handled with flair, and she balances menace and vulnerability with impressive maturity. Maia Jones offers a beautifully sung Cinderella, while Richeldis Brosnan (Little Red), Reuben Reilly (Jack), and Chloe Brandwin (Jack’s Mother) each bring distinctive energy and vocal strength. The princes: played by Max Middleton and Aisling Ní Dhochartaigh—lean into the absurdity of their roles with relish, providing much‑needed comic relief, and Andrew More’s narrator adds charm and cohesion. And as one expects from the musical, Aoife Hallett’s Milky White becomes a scene‑stealer, integrated seamlessly into the action: with the entire ensemble working to match the speed and dexterity of Morgan Hazelip’s captivating, and sharp choreography.
The Church Hill Theatre is not the easiest space for a show of this scale. Microphone issues, patchy sound balance, and lighting inconsistencies occasionally disrupt the flow. Yet the cast handles these hiccups with professionalism, pushing through dropped lines and dimly lit moments without losing momentum. It’s a testament to the company’s resilience that the production remains so cohesive despite the venue’s challenges.
Despite its imperfections, this Into the Woods is a triumph of musical storytelling. The cast’s vocal strength, the directors’ imaginative staging, and the design team’s whimsical aesthetic combine to create a production that honours Sondheim’s complexity while remaining accessible and engaging. It’s a testament to what can be achieved when ambition meets talent—and when a company refuses to let technical limitations overshadow artistic vision. A vibrant, musically thrilling, and emotionally resonant journey into the woods, and well worth the trip.
A richly sung, imaginatively staged, and impressively ambitious production, Into the Woods at the Church Hill Theatre proves that even in a challenging venue, a committed creative team and a vocally fearless cast can deliver a compelling, near‑professional take on Sondheim’s notoriously demanding musical.
A Triumph of Musical Storytelling
Into The Woods runs at Church Hill Theatre, Edinburgh until January 25th
Running time – Two hours and Fifty minutes with one interval
Photo credit – Andrew Morris
Review by Dominic Corr (contact@corrblimey.uk)
Editor for Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
