Into the Woods as presented by Trinity Musical Theatre

Public Adjudication 

Trinity Musical Theatre 

Into the Woods 

Thursday 20th March 2025 

My abiding memory of our college theatre productions many years ago is the fact that we had no fear. We created in a safe space with no limitations other than our imaginations. Trinity Musical Theatre's production of Stephen Sondheim’s complex ‘Into the Woods’ reminded me very much of those carefree days where we experimented and produced on a shoestring budget, learning as we went and having incredible fun in doing so. Trinity Musical Theatre’s show was a most thought-provoking production which, in spite of one notable shortcoming, was highly entertaining from start to finish. 

Front of house was buzzing and highly efficient. A solitary, closed book lay in the middle of the minimalist playing area as we entered the theatre and the excitement was palpable as people took their seats. 

Director Erica O'Reilly blended multiple story lines into a very cohesive narrative of the intertwined tales of some barely recognisable fairytale characters of our youth. She balanced themes of love, loyalty, and innocence with much darker ones of hatred, betrayal, and guilt. It was indeed dark, but it also had moments of laugh-out-loud levity. I loved the immersive element of bringing players into the audience and the inventive use of the theatre's unique layout. Ms. O'Reilly's very strong direction of large group scenes was notable. Pace was generally very good and there were excellent transitions between scenes in what was a very fluid space. A most entertaining and thought-provoking production from Ms. O’Reilly. 

Most musical directors cut their teeth on less challenging material than a Stephen Sondheim show. However, Megan Foley tore up the memo and decided that ‘Into the Woods’ would be the perfect debut. And what an impressive debut it was. Along with vocal technician Ella Clancy, they did a really good job between them. Ms. Foley's nine-piece, largely student orchestra, which included herself on keys, did very well with such a musically complex show. There was really impressive vocal work throughout. There was good, solid singing from principals and a lot of work had gone into the considerably intricate and challenging Sondheim harmonies. 

Grace Skowronski's choreography was very clever, interesting, and well performed throughout. Ms. Skowronski had a very keen eye for storytelling through her choreography. She was very tuned into the narrative and there was clearly great effort made to tap into the director’s overall vision for the production. The ‘Prologue’ was most engaging with its wonderfully purposeful movement. There was very creative use of umbrellas, covered in ivy, for ‘Giants in the Sky,’ even though it did lack a little bit of shape at times. The four masked couples in On the Steps of the Palace’ were very impressive. 

Laura Cole played the Witch. This was a very strong performance. Ms. Cole had a commanding presence and was a great performer. However, I felt that she needed to watch her diction at times, as occasionally words became lost in her characterisation. She gave a very manipulative performance in ‘Stay With Me’ and I loved her glamorous transformation. ‘Last Midnight’ was a tour-de-force, powerhouse of a performance, a highlight of the show. 

The very talented Eoin Daly played the Baker with much determination and vulnerability in what was a very nuanced performance. We were always aware of the Baker's internal struggles. ‘No More’ was a standout moment in the show with Mr. Daly exploring the Baker's inner turmoil, expressed in a most poignant way. He had a fabulous vocal and excellent stage presence. Comic timing was also superb, shown very clearly in ‘Maybe They’re Magic,’ in which he had excellent diction. An excellent acting performance full of exceptional understanding of narrative. 

Aoife McCormack quite nearly stole the show in her performance as the Baker's wife. She was a wonderfully intelligent, endearing performer with great charm and wit. Ms. McCormack had excellent comic timing, was a wonderful dramatic actress and a most expressive singer. ‘Moments in the Woods’ was a standout moment of the show in what was an all-round exceptional performance. Ms. McCormack’s wonderful vocal in ‘It Takes Two,’ along with Mr. Daly, lifted the show to another level - a stunning duet. 

Connie Angela McGowan gave another very impressive, strong performance as Cinderella. She played the role with great grace and strength of character on her journey of growth and self-discovery. ‘On the Steps of the Palace’ was beautifully expressive, showing Ms. McGowan's wonderful talent for storytelling through song. Comedic timing was very strong and she was so in earnest speaking to the birds, in what was a very funny moment. 

Megan Harte O’Kelly played Little Red Riding Hood. Her evolution from innocent, cutesy granddaughter to adulthood and responsibility was quite the journey. She had excellent stage presence and delivery was always very strong. Her reactions in ‘Hello Little Girl’ were very funny. I also loved how easily bought she was with a cookie. 

Patrick Nyhan was a superb Jack. He was endearing and sincere throughout with youthful exuberance and earnestness. Mr. Nyhan was also a strong singer. His ‘Giants in the Sky’ was played with much wonder and trepidation in what was a beautifully expressive performance. 

Luke Micallef played Cinderella’s Prince. He gave an exceptionally cool performance with very strong delivery. This was a very narcissistic yet funny portrayal. ‘Agony,’ along with Rapunzel’s Prince, was sung really well and was a comic highlight of the show. The other half of this princely duo came in the form of Anthony Daly as Rapunzel's Prince. Mr. Daly was deliciously over the top. He too showcased a wonderful voice in ‘Agony’ and he had exceptional comic timing. 

Niall Grogan was an excellent narrator. Every word he uttered demonstrated great meaning and understanding in a most engaging performance. Mr. Grogan never stopped performing, even when just observing the story unfold. He was always engaged, always in the zone. His delivery was excellent. He also had an excellent voice which was underutilised in the show but was well featured in ‘Ever After.’

Colm Lombard was a menacing Wolf and he really got into the predatory nature of the character. There was malevolence there but he was also charismatic and charming. Mr. Lombard had great physicality, presence, and delivery. He was exceptionally funny, masquerading as Red Riding Hood's grandmother and I loved his delivery of the rather unsettling ‘Hello Little Girl.’ Mr. Lombard was a busy man, doubling up as the Mysterious Man with an air of intrigue and, well, mystery. Mr. Lombard’s broad range was evident in how he was able to switch between two very different roles with very different physical requirements and delivery. A super job. 

Molly Terrins played Jack's mother. Ms. Terrins was a superb actress and played the role with great warmth and humour. The protective nature of the character shone through and she was able to balance the dramatic with the comedic in a very skilful performance. For me, her standout moment was her confrontation of the giant, played with great strength and resilience. 

Róisín O'Neill was a wonderful Rapunzel, full of innocence and vulnerability, longing for freedom. ‘Stay With Me’ was played with much sensitivity and emotion, displaying her complex relationship with the witch. Ms. O'Neill had a lovely, soaring soprano voice, which was at its best in ‘Our Little World,’ a superb duet with Ms. Cole. 

Philip Walshe delivered quite the performance as Cinderella's stepmother. This was a portrayal that was completely out of left field, but my goodness it worked. Mr. Walsh had excellent vocals, with a superb falsetto, wonderful stage presence and excellent physicality. Comic timing was razor sharp and he was very funny trying to force the slipper onto Cinderella's sisters’ feet. 

Eva O’Sullivan and Caroline Bond played Cinderella’s sisters, Florinda and Lucinda. They were a very funny duo. I loved their disgust at the slipper fitting Cinderella and they made the most of every comic moment through their blindness. 

Nathan Young was a great Steward with his super upper crust delivery and there was great support too from Caoimhe Grouse as Granny/Cinderella's Mother and Jule Neidhart, who

played multiple roles of Bird/Giant's voice and Cinderella's father. 

There was excellent work from a very committed and focused ensemble who were always engaged and always drove the narrative. Choral singing was excellent and clearly a lot of painstaking work had gone into nailing those very challenging Sondheim arrangements. Movement was very precise and purposeful, always with intent. A super job from all involved. 

Stage management by Róisín García-Sacristan was generally very slick. The green hooded crew worked well but the idea wasn't always consistent. The log was set by ordinary crew in blacks initially but struck by the green hooded crew thereafter. It might have been nice to keep that device once it had been established. Everything moved very well though and there were no unnecessary delays in what was a very fluid space. 

Smock Alley is such a unique, intimate theatre space with the players surrounded on three sides. The director went for a minimalist set and that worked very well in this venue. The bare, back wall of the theatre was the perfect backdrop. It was covered with some green netting, a nice little nod to the woods. The upstage right tree was a fabulous piece, so solid and so wonderfully textured. Its design allowed for some great staging options as characters looked down from above. I loved how Ms. O’Reilly utilised the physical theatre space to create various locations such as Rapunzel's tower and the palace steps. It worked perfectly 

within this space. 

Lighting wasn't as impressive as other elements of the show. From the outset, there were issues with an absence of face light. There were many late cues and actors were often left in darkness. In general, I felt that there was far too much side lighting and not enough front light. There was very good coordination with the giant's footsteps, using pulsing lights. The witch was very nicely lit for ‘Witch’s Lament’ and there was good work in ‘Last Midnight’ with the pulsing lights adding so much to the atmosphere. 

Sound was generally very good. Cueing was strong and it was clear that the operator was well prepared. Vocal balance was generally very solid. There was good balance within the orchestra and a very good balance between orchestra and cast also. Well-chosen sound effects added a layer of authenticity. The cow, bird song and very effective swallows as the cow was fed objects by the Baker all sounded great and the pitch shifter effect on the giant's mic was a great detail. 

Props were generally very well handled. The narrator's book lit up, which was a very nice touch. Milky White was a fabulous bovine creation on casters. The Baker's trolley had great detail and the witch's wooden staff was very authentic looking. The cut-out cow was very funny and the maypole did its job very well. Other items that stood out were the tiny harp and the Baker's satchel. A good job all around in the props department with plenty of attention to detail. 

Hair and makeup were generally well handled. Rapunzel's wig was perfect and the mechanics of its being cut worked really well. Everything else appeared to be well suited to the style of show. 

I felt that some costumes were a little bit hit and miss. The ideas were right, but the quality wasn't always there. I wasn't entirely taken by the green hooded cloaks. I felt that they worked as a concept but that the quality overall was lacking. The Baker's coat looked too modern to fit the story. I did love the witch's transformation. 

This was a very brave, creative, and excellently performed show, in a fabulously atmospheric venue. Sondheim is not to be sniffed at, such are the complexities of his works. Overall, I felt that this particular production was just on the brink of being excellent. With some further attention to detail in the lighting department, I have no doubt that your shows will continue to scale the heights and I very much look forward to seeing what exciting productions lie ahead for you all going forward. A superb job that you should all be very proud of. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photo Credit:

The first 3 photos (2 large group shots and Baker/Baker’s Wife) are taken by Soléne Drilhon and the photo of Cinderella sitting down and Jack’s Mother are taken by Channing Kehoe.