Southampton Musical Society 
The Point, Eastleigh 
David A Putley 
27 March 2025
Directed by first time director Katy Chalkley with musical direction by Gem Tunley, SMS’s bold production is a resounding success. Written in 1987 by Stephen Sondheim and James Lapine, Into The Woods is a musical that casts a somewhat cynical eye over that well-worn phrase, “and they lived happily ever after”. Recognising that perpetual happiness is a fantasy, this is a weaving together of familiar fairytales shot through with a heavy dose of cynicism (Blame).
For example, when Cinderella discovers that her Prince is unfaithful, his deadpan explanation is: “I was raised to be charming, not sincere.”
For any performance of this complex show to be successful, that sardonic tone must be captured precisely. That is quite a challenge, given that Sondheim’s lyrics are often of the rapid-fire, tongue-twisting kind. In this delightful show, the entire ensemble responds to that challenge magnificently, singing with crystal clarity, and conveying each character’s personality with admirable precision. And such a melodic competent orchestra perfectly in tune with all on stage makes this SMS show rather special, especially as this is the actual show professionals would perform: no allowance for amateur status. It is directed with flair and competence on stage and accompanied by orchestral musical brilliance.
The characters include a childless couple, a Baker and his Wife, whose quest for “a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold” is the thread that ties the different fairy stories together. The wood being out of the comfort zone of usual life; it is all about the journey and how you get “there”.
As the Baker, Liam Baker (of course) touchingly depicts a man who, after some struggles, discovers an inner moral strength. His journey is particularly poignant: his ‘No One Is Alone’ repeat to Jack sat at the back of the stage was so touching.
As the resourceful Baker’s Wife, Fiona Lynn gives a performance both comic and equally poignant, whose brief fling with a Prince illustrates the idea that a dark wood can be a place of dangerous temptation whilst also being very humorously directed.
Wearing that “cape as red as blood” is Little Red, played with sparky cheerful flirtyness by Charlotte Hollin. Her encounter with Daniel Ferrett’s smooth-talking scene stealing Wolf is performed as a cleverly choreographed dance of pursuit and teasing avoidance.
Cinderella is played touchingly by Dotty Evans, vividly conveying the idea that the man of one’s dreams may turn out to be a bit of a nightmare. Her scenes with the Baker’s Wife fighting over the gold shoe were a delight. And her Prince in Jim Smith, we have a suave jumped up squirt but combined with excess charm. The ‘Agony’ duet with Sam Hussey, as the Prince of the excellent melancholic Rapunzel (Morgan Dunn), was so well done, perfectly capturing First World woes, showing the sham characters but with loveable intent.
Suzie Dove as the Witch was captivating throughout: her ability to switch the witch if you like, was just superb with such stage presence the part demands.
Dan Swaine as Jack had brilliant interactions with all on-stage, especially Milky White (Jill Corbett, masterfully manoeuvred) and his Mother Rosie Blincow, who brought a sincere warmth and confusion to the role. The family relationships shone through.
Rory Blinco did such a good job as the Narrator/Mysterious Man, perfect diction and understanding of both roles coming naturally to him. Carrie Bellett, Angharad Morgan and Beth Bailey brought us suitable Cinderella villains, their combined movements being highly watchable, and a severe slap to poor Cinderella in the opening scene set it all up wonderfully. With Sally-Jayne Graham as a suitably dotty empowered Granny, the standard of casting was quite exceptional.
Set was well thought out and all parts of the stage were used with a keen eye, especially considering the numerous comings and goings. Costumes were also well designated for each part alongside some of the best sound and lighting I have seen at The Point for amateur shows. The behind the scenes team, including Pob Wyeth, Jen Hadley (the brilliant Milky White) Sophie Trod and Producers Lee Passelle and Andrew Knight should be so delighted how everyone’s efforts have come together to produce such high standard show.
Standing ovations at the end of musicals have become the predictable norm at some venues, but the one awarded last night to this talented group was thoroughly well-deserved. Bravo! Highly recommended.
