REVIEW: Into the Woods – Ad Astra Theatre Company

If you enjoy Sondheim, go see this show.

If you don’t enjoy Sondheim, still go see this show.

Because this Into the Woods isn’t just another revival of the Tony Award-winning musical; it’s the perfect tale to launch Ad Astra’s newly refurbished Galaxy into orbit. Once the home of Brisbane Arts Theatre, this intimate, elegant space now gleams with new life. Even on the night of the NRL Grand Final (which stole every other crowd in Brisbane), this audience turned up loud and proud!

Our laughter and cheers rippled through the room, egging the cast on to play even bigger, sillier, bolder! You could feel that delicious feedback loop that only live theatre can create; the unpredictable give-and-take between performer and spectator that makes every show a one-of-a-kind experience. The cast absolutely thrived on it; telling me afterward that they had amped up the emotion and improv purely due to our reactions.

The Story

Into the Woods is a masterwork of moral chaos from Stephen Sondheim (music and lyrics) and James Lapine (book). It brings together a mismatched bunch of familiar fairy-tale favourites — Cinderella, Little Red Riding Hood and the Wolf, Jack and the Giant, Rapunzel and the Witch, and a cursed Baker and his Wife — all desperate to have their wishes granted. Of course, as Sondheim so deliciously reminds us, getting your wish doesn’t necessarily mean getting what you want.

The Cast

Where to even begin? This is one of those ensembles where every character feels distinct, well-crafted, and memorable. Stephen Hirst and Heidi Enchelmaier, real-life married couple and on-stage Baker and Wife, are absolute couple goals. Their chemistry is naturally effortless (obviously), their banter sharp, and their duet It Takes Two radiates warmth. Stephen’s portrayal of the hapless, well-meaning Baker hits just the right mix of heart, while Heidi as Baker’s Wife is all wit, warmth, and steel pragmatism. Her Moments in the Woods is tender, funny, and vocally divine. Stephen also delivers an emotional gut punch in the lesser-known No More (get close seats to see his tears shining!)

Carla Beard is an absolute spark plug of a Red Riding Hood (septum piercing and all). I adore this interpretation: tomboy edge, tough, feisty, and far more streetwise than she looks. I Know Things Now is beautifully handled through her journey from wide-eyed innocence to sharp-tongued survivor.

Jordan Malone is a dream as Cinderella: poised, expressive, and vocally pristine. On the Steps of the Palace (a rhythmic nightmare I fear) lands with crystalline diction. Later, she anchors the ensemble emotionally in No One Is Alone in a touching, tear-prickling exchange with Carla.

Alex Watson brings bright-eyed energy (in a backwards baseball cap!) as Jack. Giants in the Sky is one of the freshest takes I’ve seen: vocally flawless, emotionally grounded, and framed by a cinematic swirl of fog below.

Josh Whitten doubles as the Wolf and Steward. As the Wolf (British, charming, dangerously magnetic “innit?”), he’s so persuasive I might’ve followed him off the path myself. Hello, Little Girl is gorgeously lit: soft hues as he tempts Red Riding Hood, snapping to ominous blood-red as his thoughts turn predatory. Later, as the Steward, he’s a riotous foil to Elliot Baker’s Prince.

Speaking of princes: Elliot Baker (Cinderella’s Prince) and Jaya Fisher-Smith (Rapunzel’s Prince) are dynamite. Agony prompts many girlish giggles and snorts from the audience (mostly from me). I’m personally obsessed with both their voices, plus the excellent comedic acting, superb blocking, and slapstick humour are perfection. The reprise is just as good, as they muse on being unsatisfied with their “happy ever afters.” Elliot is a riot every time he appears: clueless, extra, and gloriously self-obsessed. While Jaya is equally brilliant: goofy, flamboyant, and utterly over the top. With the true voice of a prince, Elliot's Any Moment is, indeed, a truly great moment.

Natasha Veselinovic brings power and depth to the Witch. Vocally, she’s untouchable. The Last Midnight shakes the rafters and her acting choices are strong, but I did crave more chaos from her in Act 1. This Witch could afford to feel a little more unhinged and frightening. And the button blackout at the end of The Last Midnight didn't land. It's a small tech fix that will provide that thrilling full-stop the song deserves.

Aysa Garcia Wong’s Rapunzel is luminous, her voice cutting through the chaos like silk. She and Natasha play their fraught mother–daughter dynamic convincingly, despite the literal mask barrier. James Shaw, doubling as the Narrator and Mysterious Man, is suave, grounded, and quietly ethereal. He bridges the story and the audience with ease; always observing just outside the unfolding action. And his duet with Stephen is genuinely moving (helped, amusingly, by the fact that the two actually look related).

Aurélie Roque gives a riotous turn as Jack’s Mother in a crazy bold accent (side note: everyone has different accents, so don’t be surprised!) and I only wish she had more stage time. Chloe Rose Taylor (multi-tasking as Stepmother, Cinderella’s Mother, and the iconic Grandma), Akansha Hungenahally (Florinda), and Jaya Fisher-Smith (Lucinda) triple the chaos as the giggling steps trio. Paige McKay as Milky White, the mute (slightly unsettling) cow puppet, is oddly adorable and wins hearts without saying a word.

Every performer in this cast has carved out a unique version of their character. Nobody fades into the background. You can tell there’s been real thought put into each portrayal, and it pays off in spades.

The Creative Team

Under the direction of Tim Hill, this production keeps the humour sharp, the pacing tight, and the moral lessons deeply human. Into the Woods is, after all, a musical about consequences, and this cast handles them beautifully. Hill’s direction and set design work hand-in-hand, making great use of the aisles and balcony. The cast frequently moves among the audience, breaking the fourth wall just enough to make us feel complicit in these wishes gone wrong. The set itself is a visual treat too: a living, breathing forest of tangled vines, trees, and timber slats across the rear that allows Andrew "Panda' Haden's lighting to spill through in shifting colours. That runway of lights as Cinderella flees the ball is a particularly pretty touch.

The band, led by Ben Murray, sits upstage behind the foliage. Tackling Sondheim’s famously complex score is no small feat, and Ben’s musicians deserve every ovation they get. Your Fault (my personal favourite) is razor-sharp and everything I dreamed it to be. Tess Hill’s choreography adds texture rather than spectacle, which is exactly right for this show: organic, character-driven, and full of wit.

Costumes by Tess Hill and Jem Hill lean modern-fantasy: Red’s playsuit, Jack’s streetwear, and the Stepsisters’ hoop-frame silhouettes are fun. My only real misstep is the Witch’s design. In Act I, she’s covered in a heavy brown cape and an eye-mask that hides all her facial nuance during Stay With Me (one of the most emotional songs of the act). I truly wish we could see her face clearer in that moment. Her second look in Act II, an emerald gown, is exquisite in colour, but a dramatic cape would sharpen her unsurpassable presence. Still, these designs reflect Ad Astra’s adventurous spirit, something I admire deeply. This isn’t a cookie-cutter production; it’s layered, interpretive, and full of personality.

The Experience

Act I is a laugh-fest thanks largely to comedic powerhouses Heidi, Stephen, Jaya, Josh, Carla, and Elliot, and the way they play off each other. Act II deepens into something darker as the fairy tale frays and the wishes unravel into themes that are painfully human, There are moral dilemmas, heartbreak, regret, adultery, violence, fear, death — and somehow, hope.

As one lyric warns, “Children may not obey, but children will listen.” (Or my personal favourite: “Children are a blessing… if you know where they are.”) By the time the company joins in No One Is Alone, the emotional impact lands hard. You can feel the show’s moral core: wishes have repercussions, good and evil are rarely clear-cut, and “no one stays untainted by the world.”

At roughly three hours, Into the Woods is a long tale but every minute is worth it. A few practical notes: the theatre can get very chilly, and the accessibility features are still in progress. For visual access to the balcony scenes, and for catching the finer details of faces, tears, and nuance, I recommend sitting within the first four rows. And for the love of all things theatrical: remember do not leave at interval! Act I only pretends to be a happy ending. That’s the point. The best (and worst) comes after.

Ad Astra’s Into the Woods is a triumph — wonderfully cast, tightly directed, musically rich, and full of heart. It’s a fitting christening for the Galaxy Theatre: an extraordinary celebration of storytelling and the magic of the stage.

Don’t wish — go! Tickets here

Photography by: B’rit Mobbs, By Brit Creative