Elder Conservatorium Music Theatre’s Graduating Class of 2025 presents Into the Woods, a wonderful interpretation of the Stephen Sondheim classic, directed by Miranda Middleton.
The audience is immediately transported to suburban Australian life. The stage has a carnival-like atmosphere, with colourful bunting, poles, ladders, and the iconic Hills Hoist-style clothesline. The dulcet tones of Australian birds fill the air as the cast enters the stage, casually chatting and chilling. In a slight deviation from tradition, the wings are left open. This gives the audience a glimpse of the side stage spaces, where the performers maintain professionalism throughout.
Music Director Peter Johns has clearly taught the cast well. One could imagine that Sondheim’s music and lyrics could, at times, be too much. But not in this case. The technically difficult meandering melodies and mouthfuls of lyrics are performed with balance, clarity, diction, and musicality by the whole cast.
As an Aussie interpretation, the cast sings with a distinctive accent and it’s not what we are generally used to in the world of music theatre. However, the direction of the creative team and the talent of the performers make it fun. And it works.
I found myself watching the whole production with unwavering attention. With a smile on my face and sometimes a tear in my eye, I almost forgot that these are third-year students and not quite yet professional performers.
As Narrator, Billie-Rose Russell shows a high level of skill blending in yet interacting with the characters at just the right moments. Her voice is engaging and her face expressive as she brings the story to life.
The plot is set in motion by the Witch. Melanie Cowmeadow brings multiple emotions to the role, with her vocal abilities ranging from quietly sinister to belting strength and determination. She very capably portrays a complex emotional interplay of regret, guilt, love, loss and bitterness.
As the Baker and Baker’s Wife, Ryan Murphy and Sally Harrop are a focal element of the performance. They authentically convey the ups and downs of married life, showing real connection and strong vocal skills. Their pleasant voices are filled with warm tones and a wide range of moods and emotions. Their acting skills are equally as good as their voices.
For those who aren’t familiar with the plot, the Witch sends the pair into the woods, with three days to find four magical ingredients. A cow as white as milk. A cape as red as blood. Hair as yellow as corn, and slippers as pure as gold. All in exchange for the blessing of a much-wished-for baby.
As Jack, Joey Haenen endears himself to the audience from the moment he brings Milky White, his pet cow, on stage. The cow is represented by an esky adorned with splotches and ears! Jack strikes the perfect balance of being a loveable, relatable, sweet yet naive Aussie larrikin. Jack’s mother, Erica Jones, is the perfect foil. She displays a combination of no-nonsense, plus love and affection for her son.
As Little Red Riding Hood, Sophie Carmody grooves her way around the stage with a fantastic blend of fun, sass, and spirit. Her clear, true vocal skills are rounded into an Aussie accent – even when her mouth is full of bread!
Bella Thomas’ Cinderella tumbles around the stage, tripping and falling over her golden slippers. She masterfully captures her character’s turmoil, torn between loving the Prince, and realising why she can’t be with him. Bella’s voice is clear and true, a perfect match for her heart.
Cinderella’s family brings plenty of laughs, with Aussie-themed costumes adding to their larger-than-life charm. As the stepsisters, Mia Lupton and Madison Schubert are a hilarious gymnastic duo in bathrobes. As Cinderella’s Father, Matt Hawke wears a Hawaiian shirt. As Cinderella’s Stepmother, Ali Clark looks ready to spend the day lounging by a hotel pool, cocktail in hand.
The stepsisters set off to the Festival (aka the Ball), complete with fake neon eyelashes and glitter, with the sounds of a car horn adding to the Aussie atmosphere.
The Baker and the Baker’s Wife encounter an array of characters in the woods. These include the Wolf, also played by Matt Hawke, decked out in furry boots, leathers and popcorn treats in hand to entice Little Red Riding Hood.
Matt sings smoothly and slyly, matching his vocals with fluid dance movements. A hilarious moment occurs when Granny, played by Phoebe Rodger (also appearing later as a gothic-abstract-rock Giant) pops out of the Wolf’s stomach, with pink hair, cigarette and all!
Amelia Chapman’s Rapunzel fills the stage with her beautiful, high soprano voice, slight vibrato and haunting tones. The student production team have outdone themselves with the costumes, wigs, hair and make-up. In particular Rapunzel’s hair, represented by a long piece of bushy gold Christmas tinsel. It might sound weird, but it totally works and looks fabulous! Rapunzel and the Witch have a complicated Mother-Daughter relationship, yet their voices blend beautifully in their duet.
The two Princes, played by Kaemon Wilcox and Josh Rocca, raise a laugh from the audience as they enter on a scooter. They get the laughs again as they agonise over various fickle love interests, showing flippant charm and attempting to sing like Rapunzel.
The Mysterious Man, played by Nam Hoang, is a character shrouded in mystery, wisdom and familiarity. When he has his moment to sing, his voice conveys quiet strength and kindness. Nam plays a variety of characters, such as a chicken, complete with a KFC bucket atop his head!
Rounding out the excellent cast are the condescending Prince’s Steward played by Damien Lee, Cinderella’s Mother played by Jacinda Tsakalos, Snow White played by Ella Simpson and Sleeping Beauty played by Jazz Garcia. Together they add value and interest to a highly enjoyable production.
Simon Greer’s minimalist set is smart and versatile, with a central staircase and disc doubling as everything from towers to treetops. Milk crates transform into chairs, steps, and even a wall. Christopher Snape’s lighting adds atmosphere, especially during the Giant’s scenes, where looming shadows create real dramatic impact.
Choreographer Amy Zhang demonstrates creativity through movement that enhances both the set and the characters, bringing energy and life to the story and musical numbers. Incidental choreography is cleverly crafted. Set pieces and cast members move seamlessly on and off stage without causing distraction.
Peter Johns’ live orchestra plays beautifully, balancing the energetic numbers, difficult rhythms and emotional moments with professionalism and tenderness.
Into the Woods is brought to life by the talented 2025 graduating class of Elder Conservatorium Music Theatre. While it may be a student production on paper, what’s delivered on stage is nothing short of professional. With its clever Australian twist, polished performances, and a whole lot of heart, this is a magical night out at the theatre the whole family will love. And it proves that the future of Australian musical theatre is in seriously good hands.
Into the Woods is presented by the 2025 Graduating Class of Elder Conservatorium Music Theatre and runs until 27 April 2025 at the Scott Theatre, The University of Adelaide, Kintore Avenue, Adelaide SA 5000.
Tickets: https://events.humanitix.com/into-the-woods-ecmt
Website: https://able.adelaide.edu.au/music/engage/elder-conservatorium-music-theatre
Socials: https://www.instagram.com/elderconmusictheatre/
Photo credits: Greg Balcombe
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