ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
Alice in Undergroundland
PETER MASON suspends his disbelief and disappears down a rabbit hole on the London Tube
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
Alice in Wonderland
Brixton House, London
AFTER a modern-day Alice argues with her mum at Brixton underground station, the two are separated when she jumps on a train just as the doors are closing.
Unrepentant at first, Alice soon changes her tune as she finds out she’s not on a real journey but in a jangly Tube dreamland, where a host of strange figures are trapped on a never-ending trip to nowhere.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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PETER MASON mixes with Shinto spirits that are eccentric and querulous rather than downright menacing
The Star's critic MARIA DUARTE recommends a wild foray into magic realism
MATTHEW HAWKINS speaks with Alice Christina-Corrigan who thinks there are too many revivals of ‘safe’ repertory plays