Review: Into the Woods - NWMT

Society name: North Wexford Musical Theatre

Show name: Into the Woods

Adjudicator date of attendance: 20/09/2025 

North Wexford Musical Theatre’s Into the Woods was a confident, intelligent, and impressively cohesive interpretation of one of Sondheim’s most intricate works. This was a production that understood the heart of its material, its wit, its complexity, and its humanity, and presented it with a warmth and polish that reflected both respect for the text and enthusiasm for the storytelling. The company tackled the show’s challenges with assurance, creating an evening that balanced humour, poignancy, and visual creativity. It is no easy task to stage Into the Woods effectively, but North Wexford managed to craft a production that was both thought-provoking and thoroughly entertaining.

From the opening moments, it was clear that this was a team working in harmony. The pacing rarely faltered, and despite Sondheim’s famously difficult rhythms and intricate lyrics, the story flowed fluidly from one moment to the next. There was a sense of unity within the ensemble, with each performer contributing to the shared world rather than existing as individuals on a stage. The result was a show that felt cohesive and well-shaped, with every element, from design to performance, supporting the narrative rather than distracting from it.

At the helm, director Róisín Currid guided the piece with intelligence and flair. Her direction was full of energy and invention, always driven by a clear sense of story. The transitions between the musical’s lighter fairytale moments and its darker, introspective turns were managed with care, and there was never a sense of confusion about tone or intention. Róisín showed an acute understanding of Sondheim’s layered writing, ensuring that the emotional throughlines remained visible even when the plot twisted and interwove.

The visual composition of the production was frequently striking. The stage pictures she created had both beauty and purpose, evoking the feel of a storybook world without resorting to excess. The use of levels and multiple entrances brought the forest to life as a living, breathing environment, and the blocking ensured that even during ensemble moments, the focus and energy remained sharp. Characters felt grounded within the space, connected not only to each other but also to their surroundings, and the visual storytelling supported the lyrical and emotional material seamlessly.

Character development was a clear strength. The relationships on stage were drawn with authenticity and emotional intelligence. Róisín’s communication with her creative and technical departments also shone through. Lighting and set worked in harmony, supporting her vision and enhancing the transitions between the show’s many tones and moods. Her idea for Milky White, realised through puppetry, was charmingly inventive, though it would benefit from more detailed work on synchronisation between the two puppeteers to fully sell the illusion. A greater sense of shared rhythm and awareness between them would elevate an already lovely concept. The only significant moment that felt underexplored was Cinderella’s emotional transition between fleeing her Prince and later deciding to marry him, a crucial beat that might have clarified her moral hesitation and inner conflict. However, this was a minor gap in an otherwise cohesive and beautifully directed production.

Musical direction by Conor McCarthy was exceptional. Under his guidance, both cast and orchestra handled Sondheim’s demanding score with precision and confidence. The band produced a rich, balanced sound that captured the music’s complexity while maintaining a sense of playfulness and emotional drive. Each instrument had clarity, and Conor achieved an impressive equilibrium between pit and stage, no small feat given the intricacy of Sondheim’s orchestrations.

Vocally, the company showed evidence of careful coaching. Harmonies were clean and secure, with a strong sense of blend that supported the lyrics rather than competing with them. Numbers such as “Prologue” and “Ever After” were executed with clarity and cohesion, and the tight cuing between stage and pit ensured seamless flow throughout. The only persistent issue lay in diction during the faster, more complex lyrical sections, where overlapping lines sometimes became blurred. In a score where every syllable carries meaning and humour, crisp articulation is essential. Nevertheless, this was a musically rich and well-disciplined performance, and Conor’s leadership undoubtedly elevated the standard of the entire production.

Movement in Into the Woods is seldom overtly choreographic, but Róisín Currid’s approach to movement direction was elegant and effective. Every gesture felt purposeful. She used formations and transitions thoughtfully, ensuring that movement enhanced rather than overshadowed the storytelling. The flow between dialogue and song was natural, and the ensemble always felt in rhythm with one another. Her decision to keep choreography understated proved wise, as it preserved the integrity of the lyrics while maintaining a sense of visual energy.

The principal cast delivered an engaging mix of warmth, humour, and emotional sincerity. Chris Currid as the Baker was heartfelt and compelling, capturing both the neurotic tendencies and deep vulnerability of the role. His performance felt lived-in and truthful, marked by subtle humour and touching moments of introspection. His voice was strong and expressive, though one sensed he had still more power to give. His chemistry with Megan Mitten as the Baker’s Wife was deeply convincing, their partnership full of love, frustration, and mutual reliance.

Megan Mitten’s Baker’s Wife was one of the evening’s highlights. She gave a natural, nuanced portrayal that revealed both the character’s longing and her emotional intelligence. “Moments in the Woods” was delivered with delicacy and control, sung with effortless warmth and clarity. Megan’s performance was both relatable and grounded, embodying a character who is morally complex yet entirely sympathetic.

April Kelly as the Witch brought striking theatricality and vocal power to the stage. Her portrayal was bold, dramatic, and committed, with “Witch’s Lament” standing out as a particularly moving moment. At times, her delivery tipped a little toward the shrill, where a more controlled menace might have revealed greater depth and emotional nuance. Nevertheless, her performance was magnetic, and she captured both the character’s ferocity and underlying humanity.

Caoimhe Boyle’s Little Red was a delight, cheeky, funny, and full of spark. She handled the humour with excellent timing and facial expression, managing to find the balance between innocence and impishness. 

Andrew O’Grady gave a touching and humorous portrayal of Jack. His innocence and guileless enthusiasm made him instantly endearing, and his scenes with Milky White were genuinely affecting. Vocally, he brought sincerity and warmth to his songs, making his journey both believable and touching.

Éimear Wolohan’s Cinderella was refreshingly modern, intelligent, poised, and questioning. Her vocal work was strong and clear, though her portrayal felt emotionally guarded at times. While one admired her strength and self-possession, a little more openness might have deepened the audience’s empathy for her.

The two Princes, played by Conor Lyons and Richard O’Toole, offered contrasting interpretations that complemented one another well. Conor’s Prince was playful and energetic, if occasionally more boisterous than charming, while Richard’s smoother, velvet-toned delivery provided an elegant counterpoint. Their duet “Agony” was entertaining, even if the vocal blend wasn’t entirely balanced.

Among the supporting cast, Aine Kinch’s Rapunzel was expressive and sympathetic, her frustration and fragility well conveyed. Maria Forrest, as Jack’s Mother, brought emotional truth to her scenes despite vocal strain; her off book acting and maternal presence grounded her performance beautifully.

The trio of the Stepmother and Stepsisters—Erin Hogan, Kacey Mooney, and Fia Duffy—struggled somewhat with cohesion. Their vocal tuning was occasionally uncertain, and their dynamic lacked the comic precision needed to elevate their scenes. However, their energy was good, and moments of humour shone through toward the end. With a stronger sense of shared rhythm and character interplay, this group could make a greater impact.

Paudie Breen’s Narrator was calm, engaging, and well-paced. He struck the right balance between storyteller and participant, weaving the scenes together seamlessly. Colin Doran’s Wolf was another standout, physically expressive, darkly humorous, and perfectly on the line between charm and threat. His vocal tone suited the character’s slyness, and his physical presence was magnetic.

Rónán P. Byrne as the Mysterious Man offered delightful comic energy and impeccable timing, providing lightness at just the right moments.  Rónán Ó’Dubhghaill was suitably subservient as the Steward, lending his energy effortlessly to the whims of the Prince. 

Jessica De Burca’s Granny had strong intent and humour but could improve her diction and placement for greater connection within her scenes. Brian Cooney as Second Wolf supported the Wolf sequence with liveliness and focus, while Louisa McCabe’s tender “Cinderella at the Grave” added a note of warmth and purity as Cinderella’s Mother. Brendan Sheridan, as Cinderella’s Father, played the drunken fool with great comic precision, finding humour without descending into caricature. Smaller ensemble parts, including the Three Little Pigs, Snow White and Sleeping Beauty, were handled with charm and precision. The inventive use of the Pigs during scene transitions was particularly inspired, keeping the momentum playful and fluid.

As an ensemble, the company displayed strong discipline and unity. Their harmonies were well blended, their movement synchronised, and their focus consistent. A touch more clarity in diction during the more rhythmically complex ensemble sections would have raised the polish further, but their collective sense of purpose was undeniable.

The set design was one of the production’s great triumphs. Lush and atmospheric, it balanced function and fantasy beautifully. The forest world felt rich and textured without crowding the stage, and the earthy colour palette grounded the action while preserving its magic. The use of levels gave the director endless possibilities for composition, and the cast-managed transitions, led by stage manager Nigel May, were slick and theatrically satisfying, never breaking the illusion of the world.

Lighting was handled with subtle artistry. The design elevated the storytelling, often appearing simple on the surface while revealing real sophistication in how it enhanced mood and focus. The “Witch’s Lament” sequence was a particular highlight, combining visual restraint with emotional depth. Sound quality was equally impressive. The balance between the ten-piece band and the cast was finely judged, allowing the intricacies of Sondheim’s score to shine. Cueing and coordination were tight throughout, demonstrating the professionalism of both the technical and musical teams.

Visually, the costume design succeeded in creating a coherent world that felt both familiar and contemporary. The palette of muted, vintage-inspired tones complemented the set and lighting beautifully. However, a few costumes, particularly Cinderella’s Act II dress and those of the stepfamily, felt out of step with the rest of the design concept, sitting awkwardly between modern and traditional styles. Adjusting these would strengthen the visual unity. Hair and makeup were well executed across the board, with only the stepfamily again appearing less integrated. Overall, the visual language of the production supported the tone and atmosphere consistently and effectively.

Finally, the Front of House experience reflected the same professionalism and care evident on stage. The team were organised, friendly, and efficient, greeting patrons warmly and managing the audience with ease. From the moment guests arrived, they were made to feel welcome and comfortable, contributing to an evening that felt both polished and personal.

North Wexford Musical Theatre’s Into the Woods was, in every sense, a thoughtful and rewarding production. It combined creative ambition with technical skill, offering a show that was rich in intelligence, humour, and heart. The society can be proud of this achievement, a production that captured both the complexity and the compassion of Sondheim’s masterpiece and left its audience both entertained and genuinely moved.

Photos by Darragh C