Few musicals are as musically or technically demanding as Stephen Sondheim’s Into the Woods, so it is no minor achievement that this year’s Lent term musical is an accomplished, witty and original production that hits every note bang in tune.

The show takes us on a journey into the woods with an A-list of fairytale characters – Cinderella, Little Red Riding Hood, Jack (of beanstalk fame), plus a couple of Princes Charming – and introduces us to the childless Baker and his wife, who set off to reverse a family curse. Part enchanting romp through the forest, part postmodern morality play, this is no Disney retelling of our childhood stories, but a return to the dark and ruthless approach of the Brothers Grimm in which we witness the consequences beyond the happy ever after. Sondheim takes the fairytale – the vehicle par excellence for imparting morals from parent to child – to explore the universal complexities of morality, responsibility and parenting with the blackest of humour, heartbreaking poignancy and remarkable accuracy.

The first act hams up the musical’s humour with near-perfect comic timing. Innuendo-ridden carry-on cantering on the prince’s steed, so-bad-they’re-good props (Rapunzel’s hair and Milky White the cow deserve a Tony each) and a deadpan delivery of some of the script’s most melodramatic moments bring out the hilarity of Sondheim’s incisive and pun-laden writing. Will Flinn and Quintin Beer are the quintessence of oblivious arrogance as they recount their princely trials of wanting what you cannot have. Lily Grieve in possibly the worst wig ever raps with impeccable delivery the story of her garden’s violation at the wandering hands of the Baker’s father. Georgina Skinner’s light-hearted, sassy Rapunzel is a refreshing reinterpretation of a character that typically receives a one-dimensional portrayal.

In the second half, the storyline takes a tragic turn for the worse. It is a moving and at times heart-rending act, none more so than in its penultimate scene where the surviving characters give a tender and uplifting rendition of ‘No one is alone’ so convincing that you almost forget you are watching a musical and not some highfalutin drama. Sondheim devotees may not like the interpretation of the play’s ending, but the production’s original take is a charming touch.

Musically, the cast give a watertight performance. It is rare to make so few slips of intonation in musical theatre, and a joy to hear first-rate singing alongside spot-on acting. Aydan Greatrick and Lily Parham give outstanding performances of The Baker and Cinderella, and Mary Galloway as the Baker’s Wife deserves special mention for her empathic, resilient and goofy interpretation of the play’s most complex character. Sound and lighting glitches spoil the overall effect, but Rapunzel’s rotating tower is a technical feat, and the orchestra lay a mostly solid foundation for the players on stage.

Peppered with original touches and dripping with talent, the production has the audience spellbound from the first number, and continues to delight until the last note. Go see Into the Woods while you can.