State Opera South Australia’s production of Into the Woods offers a dark, Oedipal interpretation of Stephen Sondheim’s classic musical, anchored by Jonathon Oxlade’s striking staging and Bernie Tan-Hayes’s dramatic lighting. Director Constantine Costi delivers a version that deeply explores the theme of parental sins. Costi, with the support of Artistic Director Dane Lam, cleverly emphasises this by staging the show in repertory alongside Engelbert Humperdinck’s Hansel and Gretel, and by shifting the structural spotlight to the Baker (played by Hugh Sheridan).
While the “star” moniker traditionally belongs to the Witch, who commands the lion’s share of the showstoppers and undergoes the most extraordinary physical transformation, focusing the narrative on the Baker reorients the emotional weight toward his personal quest. Remarkably, Costi achieves this re-centering organically, without altering the score or reallocating songs.
The road towards redemption is framed entirely by the Baker’s journey. To break a generational curse, the Witch (Rosie Hosking) tasks the Baker and his Wife (Johanna Allen) with procuring four mystical items within three days before the rise of a blue moon: a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. This mission forces the couple into the woods, intersecting their lives with Jack (Joey Haenen), Little Red Riding Hood (Eliza Brill Reed), Rapunzel (Jessica Mills), and Cinderella (Jessica Dean).
While Act One functions primarily as a fast-paced comedy, weaving well-known Grimm’s fairy tale characters into a shared village bordered by a royal castle and a vast forest, the overarching narrative structure mirrors classical tragedy. Rather than drawing from modern drama, this production closely aligns with Sophocles’ Oedipus Rex and the broader Oedipus trilogy, tracking the inevitable fallout of family curses and the illusion of a superficial “happily ever after.” Act Two delivers the devastating fallout, shifting into morally challenging plot twists where the ensemble functions very much like a traditional Greek chorus. Ultimately, it is a brilliantly executed narrative that captures the raw, bloodthirsty logic of childhood imagination, leaning directly into the inherent cruelty of original folklore.
As with the best ensemble pieces, no single individual stands out above the rest; rather, the cast showcases their talents at a fine pitch to deliver uniform excellence. Facing some of Sondheim’s most complex material, the performers rise to the occasion. Hosking handles the Witch’s technically demanding, dramatic showstoppers with ease, delivering a particularly sharp execution of “The Witch’s Rap”. Meanwhile, Allen hits the mark beautifully with the Baker’s Wife’s “Moments in the Woods,” masterfully balancing its sumptuous, morally complex, and comedic layers.
Furthermore, elevating the Baker focuses a welcomed level of attention onto his more vulnerable, less showy numbers. “No More” perfectly suits Sheridan’s fruity baritone voice, benefitting from excellent staging that underscores the character’s profound transition.
Of course, the production is rounded out by a stellar supporting cast, with memorable turns from the Wolf, the Stepmother, and the two preening Princes, among others. It is a highly enjoyable, sophisticated production that proudly showcases the South Australian stamp of artistic excellence.
4 Stars!
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