Into the Woods Review at Noel Coward Theatre London

Drop a handful of Brothers Grimm characters into an enchanted forest, tangle their stories together, then keep the curtain up after their happy-ever-afters, and you have Sondheim’s Into the Woods. This latest production of the 1986 musical arrives in the West End fresh from its acclaimed Bridge Theatre run. It’s characterised by dynamic lighting design and lush sets you just want to wander into.

A hapless baker and his wife venture into a dark forest on a quest for a witch, crossing paths with Cinderella, Jack (of beanstalk fame), Little Red Riding Hood and Rapunzel. True to its Grimm roots, the show’s not short on darkness or bloody violence (those brothers sure liked to inflict a blinding – yeesh). And yet it’s also a childlike call to play. The production wears this dichotomy with ease, offering fun and enchantment alongside horror.

Tom Scutt’s set and Aideen Malone’s lighting together work a feat of magic. The delayed reveal of the woods elicits sheer wonder: here, shafts of golden sunlight break through the hyper-real, dense foliage, deepening the shadows that lie farther in. This space becomes a pop-up book, a maze, a booby trap: all the major action of the show plays out across its nooks and crannies. It is at once epic and cosy.

The footlights are a smart choice. When Red meets the Wolf, the underlighting paints her face ominously, a hint that it’s the Wolf, in fact, who should be afraid. The giants too, are made of dark and light. They appear in the form of the shadows they cast over the forest, the deafening thud of their footsteps and the splintered tree stumps they leave in their wake.

This is Sondheim’s music: it’s dissonant and speech-like rather than catchy and predictably melodic. This suits the show, making it feel more grown-up, more psychological, than a poppy musical style would.

The lyrics – also Sondheim’s – present a challenge for the actors. Some of the musical numbers comprise fast-paced patter full of wordplay and rhyme, involving multiple characters who interrupt one another and jostle to be heard. For the most part, the cast pulls off this tricky feat, resulting in some of the most impressive moments of the night.

In a solidly talented cast, the two standouts are Gracie McGonigal (Little Red Riding Hood) and Kate Fleetwood (the Witch). McGonigal has a glint of the manic in her eyes and this, coupled with her deliberate way of moving and her comic timing, makes her magnetic. Fleetwood, a seasoned pro of the stage, moves deftly between sardonic humour and impassioned flights of song. In ‘Stay With Me’ (her plea to daughter Rapunzel) and ‘Last Midnight’ (her rage at the other woodland denizens), she pulls out all the stops.

The posturing princes (Lucas Koch and Matthew Seadon-Young) get some of the biggest laughs for their lament ‘Agony’ and its reprise. They are ridiculously, deliciously over the top and Scutt’s playful, camp costumes only magnify this. The pair of actors must surely be having the time of their lives with it.

A criticism: a few narrative points got a little lost. The twist that leads to the second act chaos (no spoilers here) deserved more emphasis. But it’s a small complaint in an otherwise ambitious and spellbinding production. These are woods you’ll want to get lost in; just remember to drop your breadcrumbs.

Into the Woods plays at the Noel Coward Theatre until 09 January 2027.
 

Where I Sat

Stalls N11 affords an excellent, centre view of the whole stage, with no need to crane your neck. Moments onstage are very occasionally obstructed by someone’s head, but this is only minor and you don’t miss any of the main action. The seat is fairly comfortable if a little narrow (though average for the West End). Legroom is ample.

Have You Seen Into the Woods?

Have you experienced the Olivier Award-winning revival of Sondheim and Lapin’s Into the Woods at the Noel Coward Theatre? Add your review to SeatPlan and share what you thought. You’ll even earn points towards theatre vouchers if you add a seat photo!

Reviewed by Laura Foulgerfor SeatPlan, September 2026