Bombshell’s ‘Into the Woods’ Puts Adult Twist on Children’s Fairytales

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Photo via Bombshell Theatre Co.

'Into the Woods' - Bombshell Theatre Co. (2026)

Bryce Giammo as the Wolf and Patti Meadors as Little Red Ridinghood in Bombshell Theatre Company's 'Into the Woods' showing through May 17, 2026 (2026)

Now in its fifth year, Milwaukee’s Bombshell Theatre reaches a new level of professional entertainment with its current production of Into the Woods. The hit 1986 musical, with a book by James Lapine and music and lyrics by Stephen Sondheim, continues through May 17 at the company’s Brookfield theater.

Bombshell’s season, which included a masterful Avenue Q earlier this spring, has literally turned the phrase “immersive theater” into its hallmark. The tiny theater, containing only slightly more than 50 seats, invites theatergoers to transport themselves into the world of Into the Woods from the moment they step into the theater.

Adjacent to the stage is an enormous and very detailed tree, complete with moss, tiny mushrooms at the base and small songbirds nestled in its branches (set design by Katie Meylink). Some of the branches extend over the audience’s heads, with a few tendrils hanging down (though not low enough to disturb sightlines).

In addition to the stage set, the theater’s side walls are covered by floor-to-ceiling paintings that seem to have been inspired by the backgrounds used in the film, Snow White. One almost expects the seven dwarves to skip through the colorful environment as the men walk home from the mines.

However, under the able direction of Eric Welch (one of the company’s co-founders), the large cast brings to life some well-known characters from Grimm’s Fairytales. In quick succession, the audience meets Little Red Riding Hood, Jack (and the Beanstalk), Cinderella, etc. The team of Stephen Sondheim and James Lapine also add a new pair to the mix: a childless Baker and his Wife. Their longing for a child invokes a sense of poignance to the first act.

All of the characters eventually interact as they go “in the woods,” a place of darkness, mystery, self-discovery and worldly knowledge.

Sondheim’s score is unparalleled, with highlights such as, “No One Is Alone,” “Children Will Listen” and “Giants in the Sky.” 

What Constitutes a ‘Happy Ending?’

By the end of the first act, characters who begin their stories with the phrase “I Wish,” seem to have achieved all of their wishes. Cinderella marries her Prince; Red Riding Hood saves her grandma and (with the Baker’s help) kills the Wolf; and Rapunzel is rescued from her lonely tower by a handsome Prince. Jack is rich from the gold coins he steals from the Giant. He’s also reunited with his beloved Milky White, an ailing cow who is Jack’s best friend.

As Act II begins, the characters learn that “happily ever after” endings don’t really stay happy. Two characters who control much of the plot include the Witch (convincingly portrayed by Kara Ernst-Schalk) and a Narrator/Mysterious Man (Brant Allen). Allen makes so many quick costume changes through the show that one can easily imagine his utter exhaustion by the finale.

Supporting both of these stellar performers is a large cast (too large for individually mention). However, special note must be made of the Baker (Eric Nelson) and his Wife (Katie Berg), Cinderella (Emily Mertens), Cinderella’s Prince (Bryce Bartu), Rapunzel’s Prince (Phillip Steenbekkers), Jack (Christopher Welsh), Jack’s Mother (Jennifer A. Larsen) and Little Red Ridinghood (Patti Meadors).  

The two princes expertly perform the hilarious duet, “Agony,” which contains sly digs about masculinity and wealthy privilege. This song is always a highlight of the show’s first act.

Other bits of humor include an ongoing gag involving Cinderella’s evil stepsisters. It’s cathartic when this vain and wicked pair “get their due” and end up physically disabled and almost helpless. The sisters, who look almost like identical twins, are played by Ellie Adam and Amanda Patino. 

In his director’s notes, Eric Welch mentions that he has previously acted in two other productions of Into the Woods. This experience has undoubtedly prepared him to envision the notion of putting this large show on the Bombshell’s tiny stage.

Make no mistake: this is a very difficult musical to stage or sing. Many of the songs are written in a minor key and require a great deal of talent to master. To their credit, the Bombshell cast makes it look easy.

Fictional Characters Wrestle with Real-Life Issues

At one point, a quartet of characters sing in unison from different areas of the actual stage and the hallway next to the audience. While the audience can easily hear the harmonies of the singers, they can’t always see every character without swiveling one’s head around.

In addition, the show’s highlights include fantastic costumes and wigs, especially for the Witch and the Princes (by Eric Welch), choreography that makes the most of the small space (by Kenzie Alosi), and the singing to pre-recorded music (by music director Tracy Garon). The show’s overall visual appeal is amplified by light and sound design by Mike Van Dreser. 

The theme of Into the Woods mirrors the hope, fear and confusion that real-life adults face when life doesn’t go according to plan. The characters learn that they can succeed only by sticking together and working through their problems as a group. By the end of the show, a new community evolves from their shared experiences and losses. That’s certainly a lesson worth repeating in these modern times.

Into the Woods continues through May 17 at the Bombshell Theatre on 19700 W. Bluemound Road, Brookfield. Running time is 2 and 3/4 hours (including one intermission). For tickets, click on bombshelltheatre.org, or call 414-622-0234.