The Star's critic MARIA DUARTE recommends an impressive impersonation of Bob Dylan
A reimagined story for a contemporary London audience
The Star's critic MARIA DUARTE reviews Here, Vermiglio, William Tell and Wolf Man
New releases from Thorpe and Morrison, Daria Kulesh, and Will Finn and Rosie Calvert
RINA ARYA confronts the brutal operation of Francis Bacon’s approach to portraiture
Emphasising his continuous engagement in labour movement struggles, ALISTAIR FINDLAY salutes John Foster’s contribution as activist, strategist, intellectual and defender of the Morning Star
ANDY MIAH advocates the use of AI to assist people by expanding access to global literature and culture
EWAN KOTZ relishes a veteran Glasgow band that have lost none of their verve for live performance
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.
More from this author
While the subject matter is sobering and serious, this isn't your run-of-the-mill polemic, write INDIE PURCELL
An absolute must for those who love film and graphic novels, writes INDIANNA PURCELL
INDIANNA PURCELL highly recommends a stage production that gives voice to the book’s muted black characters
Similar stories
PETER MASON suspends his disbelief and disappears down a rabbit hole on the London Tube
WILL STONE gets a little lost in a play about memory that misremembers another production of itself
PETER MASON mixes with Shinto spirits that are eccentric and querulous rather than downright menacing
MATTHEW HAWKINS speaks with Alice Christina-Corrigan who thinks there are too many revivals of ‘safe’ repertory plays