State Opera South Australia’s production of Sondheim and Lapine’s musical Into the Woods is a wild, witty ride that turns all of your fairy tales on their heads and asks whether “happily ever after” is ever true. At its heart is a baker and his wife, unable to have children because a witch cursed his family. Around them swirl familiar tales: Cinderella, Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, with nods to Sleeping Beauty and Snow White.
What if Cinderella meeting her Prince didn’t mean she was happy forever more? What if the giant atop the Beanstalk killed by Jack had a wife who came back for revenge? What if Little Red Riding Hood got a taste for killing wolves? And what or who are you willing to sacrifice to get what you dream of and to save yourself?
The script is jam-packed with action; the synopsis takes up four full pages of the program. To compare, the synopsis for Hansel and Gretel didn’t even fill one. If you weren’t aware of the premise of Into the Woods, you could be forgiven for thinking the show was over when interval arrives, after all everyone had gotten what they wished for.
While Hugh Sheridan may be the poster boy for Into the Woods starring as the Baker, there are plenty of stars in the all-South Australian cast. Johanna Allen delights as the Baker’s Wife showing both her acting and singing skills in a role that offers both heartache and longing, and a good pinch of comedy. Whether it be her attempts at conversation with Cinderella (played by Jessica Dean) about the Prince and the ball – constantly having to ask “and?” to get Cinderella to tell her anything, or the line “This is ridiculous. What am I doing here? I’m in the wrong story” when she meets Cinderella’s Prince in the woods.
Rosie Hosking impresses as The Witch, particularly with her opening Witch’s Entrance in which she goes from spoken to song and from serious to jovial within seconds. A line that sticks in our head is:
“But I’m telling you the same I tell kings and queens:
don’t ever, ever, ever mess around with my greens
— especially the beans!”.
Hosking also shows surprising vulnerability in Stay with Me that she sings to Rapunzel, who is freed from the tower in which she had been imprisoned.
Photo credit: Andrew Beveridge for State Opera South Australia
The two Prince brothers provide great amusement with their poses and galloping off the stage on imaginary horses. Nicholas Cannon as Cinderella’s Prince (and also doubling as the Wolf) and Andrew Crispe (as Rapunzel’s Prince – not that she knows it yet) portray believable sibling rivalry and bickering, even arguing over whose pain is more in Agony: “Agony! Far more painful than yours”. In his scene and song with Johanna Allen, Moments in the Woods, Nicholas Cannon perfectly portrays the Prince trying to seduce the Baker’s Wife, and justify infidelity, while creating urgency and impulse:
“Right and wrong don’t matter in the woods,
Only feelings.”
There is a lot of humour in Into the Woods and each of the artists in the show demonstrate their comedic skills. The fourth wall is often broken, particularly by the narrator who at times is just the narrator but at others a Mysterious Man. Nicholas Lester gave us Tim Minchin vibes in these roles. Little Red Riding Hood portrayed by Eliza Brill Reed, who is just 17 years old, shows a dark wisdom after her encounter with the wolf, and provides amusement as she turns into a knife-wielding vigilante donning the wolf’s fur as her new cape. Cinderella’s stepsisters, while small roles, are delightfully interpreted by Eleanor Brasted as Lucinda, and Michaela Burger as Florinda. They are almost caricature like, whether it be their huge billowing pantaloons or their failed attempts at fitting into the slipper.
Photo credit: Andrew Beveridge for State Opera South Australia
Into the Woods hasn’t been seen on an Adelaide mainstage in a production this large for several years. The Gilbert and Sullivan Society of SA presented Into the Woods at the Arts Theatre in September 2022; the Northern Light Theatre Company at Shedley Theatre in 2012; and Matt Byrne Media at Mayfair Theatre, what is now Goodwood Theatre & Studios, in 2002. State Opera South Australia has presented the Sondheim musical Into the Woods in its 50th anniversary year program.
Having seen Hansel and Gretel in the same theatre the night before, and wondering at the time how they were moving sets in and out and back in again between the alternating productions, the answer was given when experiencing Into the Woods. Jonathon Oxlade’s set design has been cleverly created to be used for both. The woods depicted by trees centre stage remain for both performances. The wall that came down trapping Hansel and Gretel in the witch’s house is now the back wall of the three neighbouring houses in which Cinderella; the Baker and his wife; and Jack and his mother live.
When the giant’s wife appears in the sky, via the projection of an eyeball above the stage, the theatre shakes with the booming sound like a crack of lightning announcing her wrath. Sound Designer Jamie Mensforth has created an all-enveloping sound that takes us from mere audience members to those in the Giant’s path. Cherie Boogaart appropriately terrifies us as the Giant’s wife.
The Adelaide Symphony Orchestra, with musical direction by Anthony Hunt, allows audiences to find the balance between enjoying the score in the pit and the singing on stage. Directed by Constantine Costi, State Opera South Australia’s Into the Woods is a delightful walk off fairy tales’ straight paths. It lands because it balances bright comedy with real consequence, and because the all‑South Australian cast, Anthony Hunt’s musical direction, and the Oxlade/Mensforth design team make the score and story feel immediate and dangerous. There are only three performances left. We suggest you run, without abandon, Into the Woods.
5 CROISSANTS
Matilda Marseillaise was a guest of State Opera South Australia
KEY INFO FOR INTO THE WOODS
WHAT: Into the Woods
WHERE: Her Majesty’s Theatre
WHEN: Only 3 shows remain:
- 7:30pm on Wednesday 26 August
- 7:30pm on Friday 28 August ; and
- 1pm on Saturday 29 August 2026
HOW: Purchase your tickets via this link
HOW MUCH: From $79 up to Premium $199
You may like to read our interview with Johanna Allen who stars as the Baker’s Wife
