“If only the Scottish were a little larger...” – Sorry, what? I know Stephen Sondheim often sidles up to his subjects from oblique angles, but Into The Woods is his musical about fairy tales; what’s the Baker’s Wife doing at the top of the second act, musing about a second independence referendum? Then I realised: she’s had a baby during the interval (as you do), so is now wishing “If only this cottage were a little larger”!  Well, that’s that one sorted out at least.

As I say, it’s all too easy to believe that a Sondheim show could veer off in such an odd direction. He and his scriptwriter James Lapine spend the first act weaving together the stories of Little Red Riding Hood, Cinderella, Rapunzel, Jack and the Beanstalk and more, peopling them with ordinary, fallible folk and seeing what happens; then, after the interval, they investigate just what might lurk behind “happy ever after”. After all, conduct has consequences: if you kill a giant, that’s going to leave one very large and very angry widow.

The Menier Chocolate Factory is now a legendary try-out and/or studio space for musicals: Sheridan Smith’s current West End hit Funny Girl limbered up here. New York-based Fiasco Theater have brought over a perfectly chamber-sized production of the Sondheim. It’s set in an attic stuffed with bric-à-brac, which is simultaneously the inside of a vast piano. The only regular musical accompaniment is from pianist Evan Rees, with the ten actors sometimes joining in on everything from guitar to bassoon to autoharp... which, of course, also becomes the magical golden harp that Jack, er, liberates from the giant. Most of the time this works beautifully, but when the score enters one of its lush phases the arrangements can seem a little thin.

Noah Brody and Ben Steinfeld, who play respectively the childless Baker and Cinderella’s prince, direct their comrades with verve. The company are nicely sardonic, and energetic both vocally and physically. Emily Young is a gung-ho Little Red, Andy Grotelueschen a charismatic cow, and the doubling of roles means that at one point Prince Brody has to try Cinderella’s golden slipper on his own ugly-sisterly foot.

Into The Woods is probably, together with Sweeney Todd, Sondheim’s most admired musical, and rightly so. It really shows non-devotees just how much there is in his work to luxuriate in: the score ranges from tinkly self-parody to majestic glory, the lyrics are dense and knotty yet also always clear, and mine their subject topic surprisingly deeply. It’s serious about being playful, and vice versa. Mr S. was born to stray off the path.

Written for The Lady.