DAN GLAZEBROOK eavesdrops on the bourgeois intelligentsia and the stories it tells itself at this moment of crisis
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A reimagined story for a contemporary London audience
L-R Toyin Ayedun-Alase as Chatter and Nkhanise Phiri as Alice
[Helen Murray]
JAN WOOLF is bowled over by a major retrospective for the YBA artist
LEO BOIX, ANGUS REID and MARIA DUARTE review Night Stage, Two Women, Kim Novak’s Vertigo, and Fuze
KATHRYN JOHNSON recommends the work of Norman Kaplan that was a tool in the struggle against apartheid in South Africa
GAVIN O’TOOLE welcomes a bold feminist subversion of classic folktales that are ubiquitous in the Irish imagination
A novel by Mexican Juan Pablo Villalobos, poetry by Mexican Ingrid Bringas, and a biography by Argentinian Mercedes Halfon
Alice in Wonderland
Brixton House, London SW9
ONE OF the great things about Lewis Carroll’s 1865 classic, Alice’s Adventures in Wonderland, is that it’s so transferable — it easily works as a reimagined story for a contemporary London audience.
Lead writer and director Jack Bradfield transports us to south London’s Brixton in 2022, and 11-year-old Alice (a very impressive Nkhanise Phiri) doesn’t want to go to her nan’s.
She gets into a huge row with her mum on the Tube, where Alice suddenly jumps onto a train going in the opposite direction as the doors close shut.
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