Review: Into The Woods Brings Wishes, Wonders & Wicked Surprises

★★★★☆

Opera Queensland and Queensland Theatre Company have joined forces for a newly imagined production of Stephen Sondheim and James Lapine’s Into the Woods, opening at QPAC’s newest venue, the sparkling Glasshouse Theatre.

For the first time, Opera Queensland, Queensland Theatre Company and Queensland Symphony Orchestra share in a production that brings together some of the country’s finest artists for a theatrical event of considerable scale.

It’s been 39 years since Into the Woods made its Broadway debut, yet Sondheim and Lapine’s Tony Award-winning masterpiece remains one of the world’s most beloved musicals.

Taking familiar fairy tale characters, including Cinderella, Little Red Riding Hood, Jack and Rapunzel, it explores what happens when wishes are granted, and everyone gets their supposedly happy ending. As it turns out, happily ever after is rarely quite that simple.

Directed by Opera Queensland Artistic Director Patrick Nolan, Into The Woods features a cast of both musical theatre and opera performers accompanied by James Dobinson conducting the Queensland Symphony Orchestra.

One of the production’s remarkable achievements is its visual design. Co-set and costume designers Elizabeth Gadsby and Charles Davis have created a distinctive storybook world, complemented by Alexander Berlage’s lighting design and Craig Wilkinson’s video design.

The production opens on a steep-roofed cottage based on the simplest picture a child might draw: a door, a window and smoke rising from a chimney. Inspired by Victorian paper cut-outs and woodblock prints from the Golden Age of illustration, the graphic visual language gives the production a beautifully crafted, almost hand-made quality.

Three ordinary households revolve to reveal our protagonists, each wishing for something more. As the houses slide away and the woods emerge, shimmering beanstalk-like trees descend from above, transforming the stage into a magical labyrinth where much of the story unfolds.

It’s a clever and effective transition, and one that makes wonderful use of the Glasshouse Theatre’s stage. From our first-row balcony seats, we had a particularly rewarding aerial perspective, taking in the full composition of the set as the story unfolded below.

The video design adds another layer to the storybook aesthetic. The Wolf at Granny’s house is rendered entirely through shadow projection, as is the Giant, while Cinderella’s birds are brought to life through similarly clever visual effects. These details are imaginative without becoming distracting, allowing the production to retain its theatrical charm.

With a musical that is largely sung through, the vocal performances are naturally a major part of the experience. The cast includes some vocal powerhouses, and there is plenty to enjoy.

Ali McGregor is a particular standout. Her beans rap earns the first burst of applause of the evening, while her final number, Last Midnight, delivers genuine chills. It’s a commanding performance, and a reminder of just how thrilling Sondheim’s music can be in the right hands.

Nina Korbe brings a quiet beauty to Cinderella. Her grounded presence radiates a royal warmth, giving the character an appealing sincerity.

Irena Lysiuk’s stunningly haunting voice as Rapunzel is every bit as enchanting as one would expect from a fairy-tale maiden trapped in a tower.

Kanen Breen delights in the triple roles of Narrator, Mysterious Man and Granny. His wicked laugh as the Mysterious Man is a particular highlight, while his assured, humorous delivery as the Narrator keeps the story moving and the audience engaged.

Darcy Brown also makes a strong impression as Cinderella’s Prince and the Wolf. His Prince walks a fine line between too much and just right, but it works, particularly in his duet moments opposite Little Red, the Baker’s Wife and Cinderella.

There is much to admire in the way Into The Woods brings together these familiar characters and their intersecting stories. Sondheim’s music gives the fairy tale world a richness and complexity that makes it feel far removed from a simple retelling. The combination of the live orchestra, operatic voices and musical theatre performances gives the score plenty of colour.

There are, however, a couple of elements that prevent the production from reaching its full potential. Some of the costume choices feel at odds with the otherwise enchanting storybook aesthetic. The visual contrast between Cinderella and her family in their opulent ballgowns and the more contemporary clothing worn by some of the other characters is jarring. While the visual design is largely imaginative and beautifully considered, these departures occasionally disrupt the world the production has so carefully established.

Opening night was hampered by inconsistent sound. Microphones were not always switched on in time, and intermittent crackling was audible in places. For a production so reliant on its vocal performances, these technical distractions were difficult to overlook. Hopefully, they can be resolved as the season progresses.

As Queensland Theatre Company and Opera Queensland’s final mainstage production for 2026, Into the Woods is an ambitious and fitting end to the year. The collaboration between three major Queensland arts organisations is something to celebrate. With imaginative design, accomplished performances and the extraordinary music of Sondheim, Into The Woods is a fairy tale journey worth taking.

Into the Woods is presented by Opera Queensland and Queensland Theatre Company and runs to 21 November at the Glasshouse Theatre, QPAC.

It then travels to Toowoomba for two performances on 3 and 4 December 2026 at the Empire Theatre. 

Tickets: https://qpac.com.au/whats-on/2026/opera-queensland-into-the-woods

Website: https://www.oq.com.au/whats-on/into-the-woods/

Socials: https://www.instagram.com/operaqueensland/ and https://www.instagram.com/qldtheatreco/

Photo credits: David Kelly