Written by Annie for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

The Bridge Theatre is well known by this point for its contemporary takes on classic works, reimagining them in new ways to give audiences a fresh perspective on shows. Their most recent undertaking is Stephen Sondheim’s iconic fairytale adventure “Into the Woods”. Having not played in London since the 2010 Regent’s Park production, it is fair to say the Bridge’s revival has been highly anticipated.

Into the Woods saw a resurgence in popularity in more mainstream lines after the 2022 Broadway revival, and UK audiences have patiently been awaiting its arrival in London ever since. It’s fair to say this new adaptation is well worth the wait.

Sondheim's iconic story and score are a feast for the ears, brimming with delicious tunes, genius lyrics, and powerful melodies. Whether it’s your first introduction to the show or you’re already a fan, this show dazzle audiences.

Jordan Fein’s interpretation of the show focuses heavily on the mystical element, the opening number quickly shrouded by mist - cleverly created by the baker’s flour dusting and milky white’s failing milking, the scene is immediately set. Fein transports us into the fairytale world, and whilst the first number is set to a black backdrop, you focus entirely on the number before the curtain opens and takes you straight into the woods. It’s a genius opening and leaves the audience in awe, as well as ensuring you’re hooked from the get go.

Having sat in the stalls, I was apprehensive for how the stage might translate in the other sections, as so much of the woods are positioned upstage, however Tom Scutt’s genius set designs ensure that the audience are able to view the woods from all angles, but with its clever positioning you feel as if the woods draw you in, and go on for forever. Clever additions are used to highlight certain scenes, such as Red Riding Hood’s grandmother’s house, which uses backlit puppetry to narrate the scenes inside, adding another level of fictional fantasy to the stage.

As with every production, The Bridge Theatre goes above and beyond to ensure the magic of the show is captured as soon as you enter the venue. Offering themed cocktails (both alcoholic and non-alcoholic) and themed ice creams at the interval, the entire evening is filled with mystical excitement. The Bridge really does pay attention to detail; it’s evident throughout the entire venue, I'm yet to have anything but an overly positive experience here. It’s a total joy to visit a modern theatre that somehow captures the charm and history of older venues, whilst still feeling contemporary and innovative. Most likely to do with its choices in productions, it cleverly brings audiences to classic shows in a fresh manner, and as a result, has established itself very quickly as an icon of the London theatre scene.

Scutt’s costuming for this musical is simply divine, striking the perfect balance between whimsical and dark; it finds the perfect middle line of Sondheim’s show - is this a fairytale or a nightmare? The costumes are beautifully detailed and intricate, yet for the majority are drowned in deep or dull colour palettes to highlight the darkness that is to come. Contrasting these muted tones are the poignant elements to the story - red’s scarlet cloak, Rapunzel's golden hair, and the richness of the prince’s clothing. All offer glimpses of brightness and hope to the otherwise dark, moody stage. The use of such an intricate and muted colour palette only heightens the complexity of the show and entirely draws you into the story.

It’s no secret that Sondheim is a musical genius, and Into the Woods is one of his most literally complex works, so the story can be seen as a challenge to translate at times. The film adaptation of the score struggles significantly, and having only seen this as a point of reference before this adaptation, there were many moments of the story I hadn’t ever really understood. However, Fein’s presentation is beautifully clear and impressively accurate that the story is easy to follow, making the viewing experience a total joy. The plot is so clearly understood, and the character studies across the board are exceptional; you can’t help but immerse yourself in the world.

Chumisa Dornford-May is a triumph as Cinderella, her voice beautifully classical with moments of contemporary iterations; Jo Foster is beautifully sweet as Jack, and Jamie Parker excellently leads the story as the baker. Katie Brayben is a total force as the baker’s wife, offering powerhouse vocals. The pair we didn’t know we needed in Oliver Saville and Rhys Whitfield at Prince Charming & Rapunzel’s prince brings comedic relief to the darker moments of the show. Their rendition of “Agony” had the entire auditorium in fits of laughter. The entire company is a force of talent, each perfectly cast, and the show is impeccably strong as a result.

Jenny Ogilvie’s movement direction ensures the pace of the show is consistent and pushes forward, whilst remaining natural and honest. It does not overdo the movement in any way and feels entirely natural and believable throughout. It cleverly aids the story and the staging to feel as real as possible despite its whimsical nature, which helps the audience become engrossed throughout.

Into the Woods is truly the piece of the puzzle that the London theatre scene has been waiting for. It’s the perfect adaptation of Sondheim’s masterpiece, feeling nostalgic and true without feeling repetitive of its previous iterations. It’s clearly already a huge hit amongst audiences, and I have no doubt it’ll continue to be so throughout the rest of its run (which is selling very quickly, so run for tickets!)

Plays until 30 May 2026

★★★★★

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