Photo: Jason Fong / Strathclyde Telegraph
Stepping outside the campus and into Woodside Halls right before graduation week for an unforgettable performance of Stephen Sondheim and James Lapine’s fairy-tale adventure, Into the Woods, felt particularly fitting.
The performance by the Strathclyde Musical Theatre Society transported the audience into the world of the Brothers Grimm’s magical stories, which served as a timely reminder that graduation and obtaining a dream diploma is not the end of the journey but simply the beginning of another. Out of university, but not out of the woods.
Unlike the characters on stage, graduates are not cursed by a witch determined to prevent their dreams from becoming reality. Yet the uncertainty of life after university can feel just as daunting.
In the fast-paced opening of the first act, we are introduced to the most crucial characters of the story: Cinderella, Little Red Riding Hood, Jack, the Witch, and the Baker’s family. Their lives become intertwined only after they enter the woods. As their paths cross, wishes are granted, consequences unfold, and every character is forced to confront the reality that getting what we want is rarely the end of the story.
The production was rich in strong female characters. Megan Day as Little Red Riding Hood, Carolyn Constable as Cinderella, Becca Fleming as Rapunzel, and Niamh Wilson as the Witch all deserve praise for their distinctive interpretations, each bringing depth and individuality to their well-known fairy-tale characters.
Among them, Eloise Murphy delivered one of the evening’s standout performances as the Baker’s Wife, building a compelling portrait of the desperation and dilemmas one faces in the fight for their dreams. Strong vocals and a powerful stage presence made the audience connect with the character’s story all the way to its tragic end.
Every performer embraced the complexity of their role, allowing familiar characters to feel fresh while remaining recognisable. Confident vocals from the cast captured the complexity and development of each character as the story progressed.
Craig Speirs portrayed the Baker with warmth and sincerity, capturing a man navigating uncertainty in pursuit of a better future, while Kai Lough brought charm and innocence to Jack, whose friendship with Milky White added moments of nostalgia and heartfelt emotion.
One of the evening’s greatest highlights was the hilarious duet between Cinderella’s Prince and Rapunzel’s Prince. Josh Duffy and Forbes Lawrie delivered fantastic performances, with impeccable comic timing that made the number one of the production’s most memorable moments.
Another scene that had the audience in stitches was the encounter with the Wolf, played by Daniel J. Black. The reveal of Red Riding Hood and her grandmother emerging from the Wolf’s stomach was brilliantly executed, with the laughter continuing well beyond the scene itself, making it one of the production’s comedic highlights.
Under the direction of Lucy Ronnie, the production balanced the musical’s darker themes with moments of warmth, humour and wonder. The ensemble worked seamlessly together, creating a world that constantly shifted between playful fairy-tale magic and genuine emotional weight. The production particularly benefited from the presence of the dancers, who, depending on the tone of the scene, either amplified the tension, creating an increasingly ominous atmosphere, or brought energy to the more comedic and light-hearted moments, making the woods feel as dangerous as they did magical.
The production team achieved an impressive sense of scale. The woodland backdrop, along with memorable props such as Milky White the cow- surely the cutest member of the cast – and the hen that lays the golden egg, helped transport the audience into the Brothers Grimm-inspired world. The Giant, although never physically appearing on stage, became one of the production’s most memorable presences. Through booming voice work and carefully designed sound effects, the audience could genuinely feel the threat looming over the characters, creating blood-chilling moments.
The music, performed by Strathclyde’s live band, beautifully complemented Sondheim’s famously demanding score. From intimate duets to powerful ensemble numbers, the orchestra sustained the emotional momentum throughout the evening and brought richness to every scene.
If there was one area that occasionally held the production back, it was the sound balance. At times, the performers’ strong vocals deserved greater clarity, with some lyrics becoming difficult to distinguish; clearer amplification would have allowed audiences to fully appreciate every word.
Nevertheless, this was an accomplished, thoughtful and often moving production that left the audience reflecting not only on fairy tales but on their own journeys. Into the Woods reminds us that every ending is also a beginning, every dream fulfilled leads to another path, and that perhaps none of us is ever truly out of the woods.
Hi, I am Julia Braun Raven, an award-winning student journalist, having been named Arts Writer of the Year at the Herald Student Press Awards 2026. Following this achievement, I am continuing to develop my journalistic skills and contribute to The Herald’s arts and culture section under the mentorship of Arts Correspondent Brian Ferguson.
I am a third-year Journalism, Media & Communication and English & Creative Writing student. I was re-elected as Editor-in-Chief of the Strathclyde Telegraph for 2026/27. Alongside preparing for the new academic year, I am delighted to continue working with the team to create a student newspaper that reflects student life on campus, while also covering the wider issues shaping the world around us.
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