Review: EUSOG's Into The Woods

EUSOG, Into The Woods

Rating: ★ ★ ★ ★.5

Across four midnights (and a matinee) Edinburgh University Savoy Opera Group (EUSOG) transported audiences Into the Woods. A tapestry of dynamic storylines, complex characters, and intricate musical numbers, Stephen Sondheim and James Lapine’s monumental collaboration poses a challenge for any production. A challenge that this young, student-led team tackles with drive, professionalism, and creativity. As a result, co-directors Tai Remus Elliot and Hunter King do for Into the Woods what Into the Woods did for Grimm’s fairytales, delivering a bold, fresh take on a beloved classic.

EUSOG’s production stands out with its strong creative direction: the logo (designed by Mike Middleton) reimagines storybook whimsy with a contemporary edge, perfectly distilling the production’s grittier approach to the fairytale aesthetic. The set (Ava Tumblety) is a charming collage of textures with a palpable human touch reminiscent of the fantasy films of the 1970s. The creative practical effects used to transform the set were particularly impressive - with just one blanket the grave at the center of the stage turns into a bed and then into the Wolf’s slit belly. The vibrant, jewel-toned lighting (Lewis Eggling) accentuates the textural richness of the set, exuding the charm of a fairytale picturebook. The seventies vibe is also prevalent in Sophie Slight’s eclectic costumes - in her vision, Little Red’s riding hood becomes a little red leather jacket. Through bold play with patchwork, layering, silhouette, and even gender (the Baker’s apron is reimagined with a plaid, pleated skirt), Slight’s designs communicate the characters’ personalities with psychological precision. A stand out is the Witch’s black dress, with a detachable skirt that also transforms into a cloak. The costumes are just as dynamic as the characters that don them - a masterclass of visual storytelling. Equally as dynamic is Morgan Hazelip’s choreography: his lively approach to movement shines brightest in group numbers, where he utilises blocking to accentuate Sondheim’s energetic music, which is beautifully performed live under Abby Bailey’s baton. 

Into the Woods’ songs are infamously tricky. Add to that Hazelip’s choreography (and the amount of screaming peppered through the show) and EUSOG’s production poses a real challenge to its young cast. With all this factored in, their performances are a feat. ‘Agony’ was my personal highlight of the night: Aisling Ni Dhochartaigh (Rapunzel’s Prince) and Max Middleton (Cinderella’s Prince) comparing princely struggles is a comedic triumph. Both are equally melodramatic, with Ni Dhochartaigh being the classic heartthrob while Middleton embodies the theatricality of a lead singer of an emo band. Whether whining about his runaway princess or seducing the Baker’s Wife (Rosie Wilkinson), Middleton’s Prince is deliciously obnoxious - a true scene stealer. The trio of Cinderella’s stepmother (Cameron Herring) and stepsisters (Keiko Tani as Florinda and Eedie Baker-Thompson as Lucinda) is similarly attractive. Their passive aggressive smiles during the opening of the Second Act are hysterical. Naomi Jessiman (Wolf and the Steward) is strong both comedically and vocally. As the Wolf their smooth, velvety voice is appetite incarnate. Aarya Gambhir (Rapunzel) is completely enchanting. Her vocals are ethereal, embodying the magic and hope synonymous with fairytales. As Rapunzel, Gambhir is truly a princess. 

The most anticipated song of the night was without a doubt ‘The Last Midnight’ and Lauren Green (Witch) lives up to its promise: with her powerful vocals and incredible acting Green is imposing, masterfully delivering the Second Act’s crescendo; the grandeur of the moment is underlined by Hazelip’s choreography as the main cast swirls around her at her command. Andrew More’s Narrator, however, is truly the calm in the eye of the storm - his sharp delivery exudes confidence befitting his character. Whereas Green is the show’s drama and More is the head, Shaun Hamilton (Baker) is its heart. His performance of ‘No More’ is gutwrenching. Hamilton’s vocal mastery allows him to completely fall apart emotionally while maintaining full control over his singing. It is unbelievable a performer of his caliber is still confined to the local scene.

Technical issues with lighting and especially sound at times pulled the audience away from the musical’s world, but the stellar vocal and acting talent of the cast quickly recast the spell. Unfortunately during the opening number Cinderella (Maia Jones) and Jack (Reuben Reilly) were almost impossible to hear. Fortunately, the audience got to experience their talent through the show: Reilly is an exceptionally sensitive performer, moving through Jack’s character arc with unwavering conviction; Jones’ Cinderella combines tenderness and determination with girlish charm sprinkled for some sweetness. During ‘No One Is Alone’ she is a star - her voice is lush and nurturing, reminiscent of Chloe Brandwin’s heartwarming performance as Jack’s Mother. Compliments are also in order for Rosie Wilkinson - as the Baker’s Wife, Wilkinson has one of the most demanding roles (physically, emotionally, and vocally). She is a uniquely elastic performer, throwing herself on the floor in one moment and tenderly singing the next. Wilkinson and Hamilton are an endearing pairing with believable chemistry and comedic tension. They successfully establish a connection with the audience essential for the musical’s emotional impact.

EUSOG’s Into the Woods is a show that makes you wish you could sing. But be careful what you wish for, as dreams come true… not free.