Review: Into the Woods at Scott Theatre

Into the Woods, staged by third-year students of Elder Conservatorium Music Theatre and directed by Miranda Middleton, with musical direction by Peter Johns and choreography by Amy Zhang, is a vibrant and accomplished show that highlights not only the brilliance of Sondheim and Lapine’s storytelling, but also the outstanding talent emerging from South Australia’s performing arts community.

Middleton has re-imagined this beloved musical through a distinctive Australiana lens, infusing it with a uniquely local flavour. From set design to accents and costumes, this whimsical tale is transported into a 1980s Australian bush setting. The enchanted forest becomes a dry landscape dotted with references to an Aussie backyard – the cow being represented by an Esky and even the iconic Hills Hoist. The characters – while steeped in fantasy – speak and dress with subtle outback references. This clever reinterpretation offers a grounded and refreshing take on the classic, making it both accessible and delightfully unexpected.

With music and lyrics by Stephen Sondheim and book by James Lapine, Into the Woods cleverly weaves together several Brothers Grimm fairy tales, delving into the consequences of the characters’ wishes and journeys. At its core is the story of a childless baker and his wife, tasked with undoing a family curse by collecting magical items from characters like Cinderella, Jack, Rapunzel, and Little Red Riding Hood.

This full-scale production runs a solid two and a half hours, yet never loses momentum. While I’ve often thought the first act could function as a satisfying standalone story, this team carries the energy through to the very end. The staging is inventive, with versatile pillars morphing into trees, an evocative frame tower, and clever use of crates for seating and steps. Lighting plays a crucial role – evocative, atmospheric, and full of tension.

The orchestra, under the baton of Peter Johns, delivered Sondheim’s challenging score with richness and precision, featuring beautifully layered textures from strings, percussion, woodwinds, and horns. I especially appreciated how seamlessly the music supported the action – rhythmically in step with every cast movement.

And what a cast! They were phenomenal from the opening note to the final bow.

Sophie Carmody was a delight as Little Red Riding Hood, offering a cheeky, bright performance with hip-hop flair and impeccable comedic timing.

Amelia Chapman charmed as Rapunzel, blending innocence with a luminous soprano.

Melanie Cowmeadow commanded the stage as The Witch – mysterious, intense, and vocally dynamic, she embodied the character’s depth with power and precision.

Joey Haenen was an endearing Jack, sharing warm and believable chemistry with his mother, played by a grounded and heartfelt Erica Jones.

Bella Thomas brought a gentle strength to Cinderella, her performance emotionally rich and vocally pristine.

Josh Rocca and Kaemon Wilcox added energy and humour as the princes – charismatic, over-the-top, and utterly hilarious in their rendition of Agony, which had the audience in stitches.

Adding a welcome layer of comedy were Ali Clark, Mia Lupton and Madison Shubert as Cinderella’s Stepmother, Florinda and Lucinda. Their scenes were cheeky and well-timed, bringing the right balance of sass and silliness.

Matt Hawke deserves a shoutout too for his menacing and theatrical portrayal of The Wolf – gritty, growling and charismatic in all the right ways.

Billie-Rose Russell served as an engaging and witty Narrator, skillfully threading the narrative with clarity and confidence.

A special mention to Phoebe Rodger who gave voice to the Giant with authority and clarity, amid dangling cola cans from her head and dress.

Sally Harrop and Ryan Murphy made a dynamic duo as the Baker’s Wife and Baker – compelling, honest, and musically strong. Murphy, in particular, gave a performance with undeniable leading man presence.

This ECMT production is a testament to the exceptional level of training and artistic growth within this program. And let’s not forget: these students don’t just perform – they take on backstage roles as stage managers, crew, marketing, wigs, and production support. It’s a truly holistic education in the performing arts.

With its bold creative vision and clever recontextualisation of fairy tales into the Australian landscape, Into the Woods is a triumph. Bravo to all involved – another massive tick of approval from me for this next generation of music theatre artists!

4.5 Stars

Lia Loves.