ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Ackroyd & Harvey: The Art of Activism, The Lost Bus, A Big Bold Beautiful Journey, and Happyend
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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] 
MARY CONWAY relishes the spectacle of a domestic implosion in a setting strangely divorced from any social, political or cultural context
SUSAN DARLINGTON appreciates a retelling of the Merlin myth that emphasises family and belonging
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
TONY BURKE reviews new releases from Cheikh Lo, Mishra & Deepa Shakthi, N’Faly Kouyate
Gin Lane by William Hogarth is a critique of 18th-century London’s growing funeral trade, posits DAN O’BRIEN
ANDY HEDGECOCK sees his scepticism lessened by a story is more complex and far-reaching than is initially apparent
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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