Into The Woods – Church Hill Theatre

Edinburgh University Savoy Opera Group (EUSOG) opens their production of Into The Woods this week at the Church Hill Theatre.  Sondheim’s notoriously complex and finicky musical score provides quite the challenge for both the performers and musicians, especially given this is an amateur company.  EUSOG’s ambition in taking this musical on cannot be denied, but I’m not sure the company was quite prepared for the challenges this musical demands.

Co-directed by Tai Remus Elliot and Hunter King, with assistance from Elise Chan, their take on Into The Woods follows the typical fairytale style of the show.  In the director’s note, we are told that this production has been made more ‘relatable’, by making the ‘characters feel more connected to the modern world’.  I’m not quite sure what in this production was meant to feel modern apart from perhaps the tangle of wires hanging at the back of the stage.  And while they were a well designed set-piece, I’m not quite sure what purpose they served.  The rest of the set was made up of a charming, hand-made tower with a few cardboard trees to accompany it.  Given the budget of a student production, I think the set did the job, adding depth and height to the blocking.  Both the set and costumes were decorated in a very whimsical, storybook fashion so it seems the directorial vision was very much lost in the mix.  If it didn’t mention this vision of modernity in the programme, I would have had no idea this was the aim. 

With it being opening night, technical issues are inevitable, however mics were off fairly frequently, cutting in and out during scenes.  Unfortunately we lost a lot of what certain characters were saying – not because of technical faults but rather a lack of focus from the sound team. 

The lighting, while it did add a lovely amount of depth and colour to the stage, failed to illuminate the character’s faces for a vast majority of the show.  This wasn’t even a case of actors missing their marks, there just was a complete lack of frontal lighting.  Even in the darkest depths of the woods we want to see the actors!

The cast were commendable, especially seeing as the majority are not acting students.  The Baker (Shaun Hamilton) and the Baker’s Wife (Rosie Wilkinson) were standouts with Wilkinson’s prior training in musical theatre being very apparent.  Her comedic timing was impeccable, using her facial expressivity to the max, and building a great rapport with the audience through asides.  Hamilton’s role as the Baker really allowed his vocal capabilities to shine, with him delivering a very heartfelt performance in the second act as he comes to terms with his wife’s death.  The rest of the cast accompanied this duo well, with a lot of very strong singers in the cast, and some great comedic relief.  I found some issues with articulation during line delivery and at times the cast and the band felt slightly disjointed.  Although some of this can be put down to the sound mix. 

Given the very complex nature of the material, stumbles are to be expected.  There were some slip ups in the band, with the majority of the band ceasing to play during one of Wilkinson’s numbers.  Overall there just seemed to be a slight hesitation and unsureness from the band at times.

All things considered, EUSOG managed to deliver an acceptable rendition of the seminal classic.  With clearer direction, guidance and support, this production could easily be improved upon.  Light up your actors, add some sound effects to fill in the awkward pauses, articulate more fervently, and already you have a much more confident show.

Playing until 24th January, https://fienta.com/s/eusog-presents-into-the-woods

Reviewer: Jessie Martin

Reviewed: 20th January 2026

North West End UK Rating: