Tag Archives: Chumisa Dornford-May

2025

“Into The Woods” at the Bridge Theatre

Stephen Sondheim’s masterpiece deserves VIP treatment every time it is staged. Thankfully, director Jordan Fein steps up with this latest revival. A mash-up of fairy tales with a contemporary sensibility, very much for an adult audience, the piece is the gold standard for musical theatre. It should never be missed, and Fein’s respectful, conscientious, approach makes it a sure hit as well as a true pleasure.

The chance to see Little Red Riding Hood, Cinderella, Rapunzel and others interact provides plenty of laughs. Alongside their stories getting confused, the characters’ self-awareness adds a layer of metatheatricality that’s a long way from the Brothers Grimm. As well as being smart, this is a laugh-out-loud musical. But there’s poignancy, too, with its exploration of parenthood and what people –full of both hope and fear – wish for.

At the centre of the show are a Baker and his wife – it is their hope for a child that starts the action. Jamie Parker and Katie Brayben make a fantastic couple, showing us the stress in their characters’ relationship as well as the commitment they share. There is also a very strong performance from Jo Foster as Jack (of beanstalk fame) bringing tremendous energy to the role and tackling his puppet pet cow so well the animal almost steals the show. Nonetheless, leading the way for both comedy and tragedy is Kate Fleetwood, who plays the witch. Of course, in a show about fairy tales, it’s a starring role. But Fleetwood really does shine. Every moment is considered, the smallest gesture getting a laugh. Her singing is marvellous and, in the numbers addressed to her adopted daughter, heart-wrenching.

There is terrific support from Oliver Savile and Rhys Whitfield, who play the royalty in the show – their enthusiasm is contagious. The production is, almost, faultless. The priority for Fein is the acting skills his cast brings, so there are a few instances when you might wish for stronger singing. But there are fine voices here, including the excellent Gracie McGonigal, Bella Brown and Chumisa Dornford-May. Best of all, you can hear every word sung. Since Into The Woods has the cleverest lyrics – they are a benchmark to judge others – this is essential and it makes the production a pleasure at every turn.


Until 30 May 2026


www.bridgetheatre.co.uk


Photo by Johan Persson

2025

“Here We Are” at the National Theatre

It’s hard to imagine that there was a time when Stephen Sondheim’s work wasn’t revered. Not all his shows were hits the first time around and many divided opinion and generated parody. This last effort from the legend, who died in 2021, presented on the South Bank via New York’s The Shed, is such a mixed affair that it’s unlikely anyone will claim it as a Sondheim highlight. 

Sondheim used more sources to make musicals than most and this time, with David Ives’ book, he looks at Surrealist cineaste Luis Buñuel. We get not one but two films brought to the stage. It must be stressed that, unlike many a movie adaptation, Sondheim and Ives put their own stamp on the works. These are interpretations, updated and with the stage in mind. For once, the word ‘inspiration’ is apt.

Yet, while there are more than enough crazy moments, there isn’t the political power that’s found in Buñuel. Maybe this is down to the times? Our view of class has changed so much. Or is it Surrealism itself that’s the problem? You might suggest Surrealists tend to take self-referentiality seriously (there’s a topic for discussion). But musicals are whacky from the get-go.

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Tracie Bennett

It helps an awful lot to know what’s being referenced before going in. Of course, Sondheim fans are a clever bunch and their knowledge of European cinema extensive. But just in case you need reminding, the first act is based on 1972’s Le charme discret de la bourgeoisie, with a wealthy group trying to find a place to eat. Here the idea is a solid satire that’s laugh-out-loud funny, with great skits from various waiters (including Tracie Bennett, who is excellent). But updating the characters isn’t a happy affair. Instead of France, we are in LA. And, more than the bourgeoise, we have Ultra High Net Worth individuals who don’t quite convince, despite Rory Kinnear’s commendable efforts. A younger character, admirably performed by Chumisa Dornford-May, is written as some kind of revolutionary but is notably more soixante-huit than contemporary.

The second act disappoints further, not least because there is so little music in it. It’s a version of El ángel exterminador (the one with the characters mysteriously trapped in a room). Why they can’t leave and then eventually do is never explained but you’re going to have to live with that. The wit and intelligence are still clear (a dialogue about ontology and shoes is funny), but the references become oppressive. 

Jesse-Tyler-Ferguson-and-Martha-Plimpton-in-Here-We-Are-at-the-National-Theatre-credit-Marc-Brenner
Jesse Tyler Ferguson and Martha Plimpton

The potential legacy of the piece also weighs heavy. Yes, this material would be difficult for any cast. But director Joe Mantello fails to keep up a pace or embrace crazier moments so that (ape costumes aside) there are few surprises. While Richard Fleeshman and Paulo Szot manage to shine in simpler roles (as an unnamed soldier and a diplomat), the other characters are surely supposed to be more three-dimensional? Jesse Tyler Ferguson, Jane Krakowski and Martha Plimpton (all big talents) seem trapped in how we imagine performers in a Sondheim show should act. Metatheatricality or just a mistake? It proves tiresome and shortchanges the show. 

Until 28 June 2025

www.nationaltheatre.org.uk

Photos by MARC BRENNER