Into The Woods Tickets

When director Jordan Fein was about to open Stephen Sondheim and James Lapine’s Into the Woods at the Bridge this time last year, Nicholas Hytner walked into the theatre one day to take a peek and declared, “Wow, I haven't seen  so many tights on stage in decades.”  But then part of the pleasure of Fein’s revival of the musical fairytale mash-up -- which has now taken up residence at the Noel Coward Theare with a cast which includes Kate Fleetwood as The Witch who locks Rapunzel up in a tower and John Daglleish as The Baker longing for a child-- is the skilfully crafted way that he brings real clarity to the storytelling while weaving an evening which is part magical dark fairytale, part witty pantomime, and part unsettling journey into the unconscious.  There are indeed men in tights, and they are often very silly, but while Into the Woods was written almost 40 years ago, Fein succeeds in making it feel sharply contemporary, a piece about the here and now. He does it without diluting the enchantment. He sharpens this tuneful, funny rallying cry for the power of community in a way which ensures it takes a knife to our self-interested individualism. “The characters, and the actors playing them, bring such humanity to it, and I think audiences respond to that. You watch Cinderella in the woods and see her trying to just figure out who she is and how she should be. It is a show which is political through personal stories.” Neither Sondheim nor Fein offer any guaranteed happy ever afters.  “The brilliance of Act Two", says Fein, ‘’is that more than perhaps ever we understand that happy ever after isn’t real, that we are always going to have to continue to take care of each other. That doesn’t ever stop.”  Tom Scutt’s design—creating a lush forest which is gradually revealed to be full of sinister lurking shadows—is a key ingredient of Fein’s magical  potion. “I grew up on this musical through an American theatre lens,” says the US-born Fein, who is best known here in the UK for his Oklahoma! (co-directed with Daniel Fish), which transferred from the Young Vic to Wyndham’s back in 2023, and his Regent’s Park revival of Fiddler on the Roof, which transferred to the Barbican, “but Tom cut his teeth making panto at the Lyric Hammersmith, and so the show is a marriage of those two perspectives.”  Does it help or hinder  that the pair have been a real-life couple for the last 10 years, during which time Scutt has lived with Fein’s obsessive devotion to Into the Woods?  “You have to learn to separate church and state. But I think we are quite good at being both collaborators and partners, and here the design is so integral to the piece it always felt right that it was Tom who did it. As soon as Nick Hytner offered me the job, I said to him that I wanted to work with Tom on it because he was just the right person for the job. But during the process you do have to give each other space; otherwise, life is just work.” If the Bridge seemed like the perfect venue for Into the Woods, Fein says that Noel Coward Theatre brings with the production greater intimacy and force. “The show feels like it is trying to burst out of the theatre, and when Kate Fleetwood’s Witch arrives, it really feels as if she is blowing the roof off of the building. Because the theatre is smaller there is real intimacy too because the audience is closer. So, in the soliloquy moments, the cast can access the audience in a more immediate way.”

“I wanted to do Into The Woods because it scares the hell out of me, and I always think that’s a good reason to do something,” says actor John Dagleish. “After 20 years in this industry one of the things I’m really certain about is that if something scares you, then you probably need to do it.”  Dagleish, last seen in the West End giving a complex, tender turn as the lead in The Curious Case of Benjamin Button, a show which won him many fans, is playing the Baker in the West End transfer of Jordan Fein’s Bridge Theatre revival of Stephen Sondheim’s 1986 musical, Into the Woods. Arriving at the Noel Coward in September, it’s a gloriously tuneful mash-up of fairytales which comes with some of Sondheim’s most enduring songs as well as the reminder that happy ever after is never quite what it’s cracked up to be. Not in fairytales; not in real life. Dagleish has had a varied career in TV (he’s in the BBC’s upcoming Le Carré spin-off, Legacy of Spies) and theatre (he was Lysander in Joe Hill Gibbons’ Young Vic Dream and Bob Cratchit in A Christmas Carol at the Old Vic), but Into the Woods is only the third time that Dagleish has been cast in a musical.  But given he has won the Best Actor in a Musical Olivier Award for both his previous two outings—playing Ray Davies in the Kinks’ musical Sunny Afternoon back in 2015 and for his performance in The Curious Case of Benjamin Button—he may be feeling daunted by Into the Woods, but he’ll undoubtedly make good.  Winning two Oliviers is quite an achievement for any actor, but particularly one who trained at Drama Centre London and who, while he loved singing and dancing as a child, followed a TV (he was cast in the BBC’s Lark Rise to Candleford on graduation) and straight theatre career for many years before Sunny. Afternoon came. He says that winning an Olivier makes you feel great on the night, but if it’s for a role in a musical, you shouldn’t expect it to be a career rocket boost.  “It’s different in the UK from Broadway, where a Tony win for a musical is a gamechanger. Here, if you win an Olivier for Best Actor in a play, it brings opportunities, but if it’s an Olivier for Best Actor in a musical, it might get you a foot in the door for another musical, but it doesn’t necessarily open other doors. In every musical I’ve done I’ve been surrounded by amazing actors, the very best, who are also brilliant musicians and singers. I think there is still a bit of snobbishness around musical theatre here."  Not that he’s complaining. He says that he’s like the child with his nose pressed up against the sweetshop window. “I always wanted to be able to do everything if I could: film, TV, plays and musicals. I have been very lucky to have the breadth of career that I have.” 

Into The Woods is back in London’s West End after a hugely successful run at the Bridge Theatre, Olivier Award winning for the Best Musical Revival. With Sondheim lyric genius and this stellar cast, old and new, Into The Woods is a must-see. Meet the cast making the magic happen at the Noel Coward Theatre from 22nd September.  Who are the new cast members of Into The Woods? The current cast of Into the Woods West End includes new names John Dagleish as The Baker, Laura Pitt-Pulford as The Baker’s Wife, Simbi Akande as Cinderella, Lucas Koch as Rapuznel’s Prince, Fiona Finsbury as Rapunzel, Jack Quarton as the Steward, Keith Ramsay as Jack and Matthew Seadon-Young as Cinderella's Prince/Wolf. Who was in the original cast of Into The Woods? Kate Fleetwood returns as the Witch, alongside Valda Aviks as Grandmother/Giant, Geoffrey Aymer as Cinderella's Father, Jennifer Hepburn as Cinderella's Stepmother/Alternate Witch, Hana Ichijo as Lucinda, Julie Jupp as Jack's Mother, Gabrielle Lewis-Dodson as Florinda and Gracie McGonigal as Little Red Ridinghood.

Following its acclaimed run at the Bridge Theatre and a triumphant night at the 2026 Olivier Awards, Into the Woods is heading into the West End this autumn, and now we know more about who will be stepping into the woods! Among the newly announced names is John Dagleish as the Baker. Dagleish wowed audiences for his performance in The Curious Case of Benjamin Button, the acclaimed musical which made its West End debut last year. He'll now take on one of Sondheim's most recognisable roles, joining Laura Pitt-Pulford as the Baker's Wife, Simbi Akande as Cinderella, Lucas Koch as Rapunzel's Prince, Fiona Finsbury as Rapunzel, Jack Quarton as the Steward, Keith Ramsay as Jackand Matthew Seadon-Young as Cinderella's Prince/Wolf. Joining the previously announced Into the Woods cast The new arrivals will join a number of previously announced cast members from the Bridge Theatre production. Kate Fleetwood returns as the Witch, alongside Valda Aviks as Grandmother/Giant, Geoffrey Aymer as Cinderella's Father,, Jennifer Hepburn as Cinderella's Stepmother/Alternate Witch, Hana Ichijo as Lucinda, Julie Jupp as Jack's Mother, Gabrielle Lewis-Dodson as Florinda and Gracie McGonigal as Little Red Ridinghood.

Here’s your first look at new production shots of Into The Woods at the Bridge. With some new additions to the cast including Rachel Tucker as the Baker’s Wife, Hughie O’Donnell as the Baker (previously the Steward in the production) and John Owen-Jones as the Narrator/Mysterious Man.

It seems Into the Woods had to gather two Olivier Awards before the witch granted its next big wish — a West End transfer. Fresh from its triumphant night at the 2026 Olivier Awards, the Bridge Theatre’s acclaimed revival of Stephen Sondheim and James Lapine’s beloved musical will move into the West End this autumn, taking up residence at the Noël Coward Theatre. Jordan Fein’s production was the most nominated musical revival of the year, receiving an impressive 11 Olivier nominations. It went on to win Best Musical Revival, alongside Best Lighting Design, awarded to Aideen Malone and Roland Horvath. The production also received nominations for Fein’s direction, Tom Scutt’s design, and Adam Fisher’s sound design, further cementing its status as one of the standout revivals of the season. Currently running at the Bridge Theatre through May, the production has been praised for its inventive staging and rich reimagining of Sondheim’s iconic fairytale musical. Further details about the West End run, including exact dates and casting, will be announced soon!  

Fresh from securing 11 Olivier Award nominations earlier this month, Into the Woods at the Bridge Theatre is set to welcome a wave of new cast members, with the latest additions joining the acclaimed production from 20 April. WhatsOnStage Award winner Melanie La Barrie (Hadestown) will take on the role of the Witch, joined by John Owen-Jones (Les Misérables) as the Narrator/Mysterious Man and Rachel Tucker (Wicked) as the Baker’s Wife. Jack Quarton (The Curious Case of Benjamin Button) plays the Steward, while Jodie Jacobs (Fiddler on the Roof) joins the company as a standby. Meanwhile, Hughie O’Donnell, who is currently appearing as the Steward, will move into the role of the Baker. Remaining with the production are Jo Foster (Jack) and Oliver Savile (Cinderella’s Prince/Wolf), who both received Best Supporting Actor in a Musical Olivier Award nominations, as well as; Valda Aviks (Grandmother/Giant), Geoffrey Aymer (Cinderella’s Father), Bella Brown (Rapunzel), Chumisa Dornford-May (Cinderella), Jennifer Hepburn (Cinderella’s Stepmother), Hana Ichijo (Lucinda), Julie Jupp (Jack’s Mother), Gabrielle Lewis-Dodson (Florinda), Gracie McGonigal (Little Red Ridinghood), and Rhys Whitfield (Rapunzel’s Prince).  Standbys Taite-Elliot Drew, Jacob Fowler, Sophie Linder-Lee, and Chloe Saracco also continue.

Featuring music and lyrics by Stephen Sondheim, Into the Woods is a Tony, Olivier, and Grammy Award-winning musical.  Into the Woods features a number of stand-out songs, including; “Into the Woods,” “Last Midnight,” “No One is Alone,” and “Stay With Me.”   Famous faces who have sung Into the Woods songs include Meryl Streep, Imelda Staunton, Stephanie J. Block, Emily Blunt, Phillipa Soo, and Gavin Creel. Stephen Sondheim and James Lapine’s multi award-winning musical weaves classic fairytales; Cinderella, Jack and the Beanstalk, Rapunzel, Little Red Riding Hood, into a single narrative about desire, consequence and community. The musical’s songs are clever, expressive and essential to the storytelling. Find out more about them below.  Act 1 The first act of Into the Woods introduces us to the enchanted world where wishes drive every character’s journey. Prologue: “Into the Woods” This rousing opening number brings all our principal characters together, each with their deep wishes, from Cinderella’s longing to attend the king's festival to the Baker and his Wife’s hope for a child. “Cinderella at the Grave” Cinderella reflects on her life and her mother’s words at her grave. We’re introduced to her wistful longing and quiet courage.  “Hello, Little Girl” Little Red Riding Hood meets the Wolf (often portrayed by the same actor who plays Cinderella’s prince later in the show) an encounter that mixes innocence with danger, and a touch of desire. Sure, Little Red Riding Hood knows she shouldn’t follow this mysterious stranger into the woods, but she is visibly thrilled by spending time with this sly and seductive rogue.  “I Guess This Is Goodbye” / “Maybe They’re Really Magic” Jack trades his cow Milky-White for “magic” beans and says farewell to his friend, while the Baker and his Wife weigh the risks and rewards of their quest. “I Know Things Now” After emerging from the Wolf's belly, covered in blood and determined to get a new cape out of her encounter, Little Red Riding Hood reflects on what she’s learned, namely  “Scary is exciting / [but] Nice is different than good.” The song sees her lose her childish innocence, and part ways with her famous red cape.  “A Very Nice Prince / First Midnight” Cinderella crashes into the Bakers Wife while running away from the king’s festival. The ball wasn’t what she expected, but “How do you know what you want till you get what you want and you see if you like it?” The Bakers Wife pounces for Cinderella’s golden slippers whilst the soon-to-be princess has her exponential crisis, but fails. In “First Midnight” characters reconnect after the ball, each wrestling with their day’s discoveries, aware of the passage of time and the shifting stakes.  “Giants in the Sky” Jack returns from the giant’s castle with tales of adventure, and an armfull of gold coins. It’s a showpiece for youthful bravado and recklessness, however we quickly realise that he’s still just a child when he cries and pleads with the Baker to give him his cow back. The Baker refuses and Jack climbs back up the stalk, determined to buy his friend back.  “Agony” Cinderella’s Prince and Rapunzel’s Prince lament their loves in a comic duel of one-upmanship (or downmanship, as each swears he has it worse). It’s stupid and silly and so much fun. “It Takes Two” The Baker and his Wife find strength in partnership as their quest continues, a heartfelt duet about teamwork and perseverance.  “Stay With Me” After finding out about her encounter with the Prince, the Witch warns her daughter, Rapunzel, about the “real-world” outside of her doorless tower. She begs her to “Stay a child while you can be a child”.   “On the Steps of the Palace” Cinderella wrestles with her decision to stay or run, in this tongue twister of a song she tells the Bakers Wife how she was stuck on the palace stairs after the prince covered it in pitch. She escaped the stairs with one shoe, which she gives to the Bakers Wife, before sprinting through the forest and back to her home.  “Ever After” Act 1 closes with the “good” characters enjoying their happy endings and the “bad” characters accepting their fate. The story looks like it's rounded off nicely, however, as a new beanstalk grows in the background, we know it’s not over yet - which is good, because we still have a whole act to go!  

Go into The Bridge for a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a show that’s pure as gold… Stephen Sondheim’s tale of twisted fairy-tales bursts into life in Jordan Fein’s plump and lush revival. The first show at The Bridge to be staged end-on in over three years, the production completely immerses you in its rich and magical world as if you are standing next to Cinderella, brushing up against a fortune laying hen or swerving a Giants sandals.  Tom Scutt’s creative and intricate set pieces and costume designs transport you into the world fully. A special mention to Florinda (Gabrielle Lewis-Dodson), Lucinda (Hana Ichijo) and the Stepmother’s (Jennifer Hepburn) horse and carriage handbags, as well as Rapunszel's (Bella Brown) braided ladder hairpiece. These fun and quirky touches elevate the text's playfulness whilst also showcasing the musical’s central idea: nothing, and no one, is quite what they seem.  Gracie McGonigal’s Red Riding Hood is definite, obnoxious and sharply funny, a commanding performer who steals focus (and a loaf of bread, six buns and a few slices of cake) whenever she steps onto the stage. Yet beneath the bravado, McGonigal reveals real desire and vulnerability. It’s a turn with as many layers as one of The Baker’s (stolen) turnovers. 

Theatre’s most twisted fairy tale has arrived at the Bridge Theatre. Into the Woods, Stephen Sondheim and James Lapine’s Tony Award-winning musical, returns in a bold new production that dives deep into a world where familiar stories blend, collide, and break apart. Playing for a strictly limited run, this reimagining promises an enchanting, unsettling, and richly theatrical journey… What is Into the Woods about? This thrilling revival follows the Baker and his Wife, who set out on a perilous quest to break a wicked curse. Their search leads them into the heart of the woods, where they cross paths with Cinderella, Jack, Little Red Riding Hood, Rapunzel, and other beloved characters — each chasing a wish of their own.  But magic always comes at a cost. As dreams are granted and destinies shift, the characters are forced to confront loss, responsibility, and the uncomfortable truth that “happily ever after” isn’t always what it seems. With Sondheim’s iconic, intricately layered score, Into the Woods delivers a spellbinding blend of dark humour, emotional depth, and fairy-tale wonder.