Written by James Lapine. Music and lyrics by Stephen Sondheim. Directed by Nick Bagnall.
I recently watched an interview with James Lapine and Stephen Sondheim where they spoke about the nostalgic comfort of the phrase “once upon a time” - how it immediately transports us to childhood, that calm moment before bed when we expect a happy ending. Into the Woods plays with this expectation brilliantly, using the phrase to lull the audience into a false sense of security before twisting it with tension and unpredictability just moments later. I’m fascinated by theatre that draws the audience in emotionally, and this musical does exactly that. Its characters reflect real-world darkness in a deceptively whimsical way: Little Red is a bloodthirsty child, the Witch is painted as the villain but speaks the most truth. There’s a strange and compelling blend of humour, vulnerability, and raw honesty within the abstract, fairytale setting. That juxtaposition - the twisted realism wrapped in magic and naivety - is what drew me in and ultimately shaped my creative approach.
Venue: The Everyman Playhouse, Liverpool
The central concept of perspective led me to simplify the forest into tall, varied columns - evoking the childlike feeling of constantly looking up. The set is deliberately minimal and monochrome, almost clinical, with a mirrored floor to physically reflect the idea that the story mirrors aspects of our own lives. This neutral palette creates a blank canvas for the costume design to bring in the magic. A large scaffolding structure at the back houses the full orchestra, playing with scale both visually and aurally, while also casting shadows to suggest distance. A shark tooth gauze behind the fabric allows for selective visual reveals, adding depth and theatricality.
I wanted the costumes to introduce colour and magic—to bring light into the darkness of the words being sung. As I read and listened to the musical, I kept envisioning a dystopian world where all the characters are on a journey - not a joyful one, but a determined struggle for what they’re “wishing” for. This informed a sense of wear and resilience is evident in their appearance. Characters within the same fairy tale or narrative thread share a cohesive colour palette, visually linking their stories. Layering was essential to my designs, reflecting the layered nature of the musical itself where identities, motives, and truths are gradually revealed.
Baker
Bakers' Dad
Little Red Riding Hood, costume two
Little Red Riding Hood, costume one
Expanding on the costumes of Little Red Riding Hood, while researching, I came across an article titled "50 Shades of Red," which explored themes of sexuality and the loss of innocence in LRRH’s story. This inspired me to incorporate multiple shades of red into her costume, symbolising her evolving identity (Costume one). I was also intentional about concealing her face until her transformation into the wolf-skin costume - a moment where she metaphorically grows into her own skin, or rather, the wolf’s (Costume two), marking her shift into independence and self-awareness.
Cinderellas' Mother
Cinderellas Prince
Repunzel
Jack (the beanstalk)
The Narrator
Witch
Cinderellas' Step Sister
Cinderellas' Step Sister
Expanding on the costume of the Narrator, the Director, Nick, and I discussed the world the Narrator belongs to—whether he exists within the dystopian fairytale or as part of the human audience's reality. This led us to costume him as an "Everyman" (Venue) steward, allowing him to interact with the audience pre-show by handing out programmes, before seamlessly transitioning into the narrative. This choice creates a clear point of focus and sets him apart from the other characters. It also adds an immersive layer, inviting the audience to feel more connected to the story - as if one of their own is being drawn into the world alongside them.