Into the Woods, London review: Magical, overwhelming meta musical

Into the Woods, a Stephen Sondheim and James Lapine musical, takes audiences on a self-referential journey through a series of fairy tales, with a focus on the challenges faced by Cinderella, Little Red Riding Hood, Jack, and the Baker and his Wife. The production, currently playing at the Noël Coward Theatre until 9 January 2027, boasts technically brilliant staging and a lush, escapist set, as well as a magical atmosphere.

However, this meta-musical can feel overwhelming at times, with characters venturing into the woods to retrieve four magical items to break a curse. The narrative is often verbose and character-driven, leading to moments where everything feels a little too convoluted. The first act delivers a fun, heartwarming journey, but by the time the second act arrives, the plot unravels with the introduction of a vengeful giant.

This second act feels like a misstep, as it lacks a satisfying climax and seems to drag on longer than necessary.

One issue with Into the Woods is the lack of conventional pop songs, which can make the musical feel a bit stagnant. While the repeated chant "into the wooooooodsssssss" is catchy, it doesn't quite hit the mark as effectively as a more tuneful melody would. The metaness of the production bleeds through its staging and ballads, where characters belt their lines for the sake of musical theatre rather than the story itself. This can make the performances feel somewhat hollow at times.

Despite its flaws, Into the Woods remains an innovative and magical experience. The visual spectacle and imaginative world-building transport audiences to a fairytale realm, even if the story itself sometimes feels a little overstuffed. However, this show may leave some feeling exhausted by the end, as it demands a certain level of engagement and patience to appreciate its brilliance fully.