'German Skerries' Orange Tree Theatre ****

Being a human being involves a considerable amount of events such as; friendships, marriage, vacations and the unfortunate thing that is death, nevertheless can all these situations be presented in a 90 minute play. The Orange Tree Theatre’s production of Robert Holman’s 1977 play, ‘German Skerries’ was a first-rate production about how people meet and how people say goodbye to one another, moreover, the performances were very distinguished.

‘German Skerries’ is set on a vantage point in Teeside, 1976 which oversees the River Tee estuary where we are acquainted with 23 year old factory worker, Jack who is sprawling on the grass with his telescope as he’s interested in not only bird watching but the cargo ships in the sea transporting the goods. He soon comes into contact with 59 year old school teacher, Martin and they instantly make small talk about their up-and-coming holidays and their tyrannical wives. It appears that Jack has an ambition to gain a place on a training course as his current occupation in the factory is far too poultry than what he wants for his life, nonetheless, what he is missing is confidence. In addition to this, Martin has had his fair share of disappointments as his own mother when he was the same age as Jack was pressurised into remaining in Teeside rather than pursuing his own ambitions to leave home and the area itself.  Throughout the performance, Jack’s wife, Carol whose life is a bit more stable, on the other hand, we are observant to see that she can delicate at times and her hot-tempered approach enables us to the two side of their marriage. When they venture out to the same location one night, a collision in the local new steel works soon infringes their evening as Michael who is a ship’s pilot has been injured due to the fact that an underwater pipe has backfired right in front of him and understandably he is in a pretty bad way and it is up to Jack and Carol to save his life. Martin tries to help Jack to build on his confidence as Jack’s opinion of himself is low and so is Jack’s wife as we learn that he has applied for the course before and has been unsuccessful. What is poignant is how concerned Jack and Martin are about the state of the environment which has been blighted by the new steel works even though Jack works there; as such it depicts how industrialism has eradicated the British landscape. At the finale, Martin finally gets to meet Jack’s wife, Carol and it seems that she thinks that Martin is a pleasant one indeed, furthermore, it allows us to see how important the place is to people as a way to escape the reality of their own lives which could be mundane. Holman’s narrative is compelling as we can see that the direction in which life does to us on a regular basis and the suggestion that every single person has a link, albeit without our knowledge, also I am surprised that this is the first revival since its first premiered four decades ago. 

One found the performances by the company of, ‘German Skerries’ to be fascinating as we can see how each role has their own struggles to deal with, plus, the delivery of their vocal characteristics through to their movement executions. George Evans is wondrous as under-confident, Jack; especially how he really wants to be accepted onto the course and along the way we see this lack of confidence diminish with the help of Martin and Carol, in addition, his little moment with Carol near the shed shows how love could be his buoyancy booster. Howard Ward is excellent as teacher, Martin; chiefly where we see that his own wife finds him irritating and send him up to the hill to get out of her hair; plus, there are lovely scenes with himself and Jack and it comes across that there’s a small father-son bond here. Katie Moore is fantastic as Jack’s wife, Carol; essentially where we can see that the marriage between her and Jack is actually quite liberating, but her goal of helping Jack get the confidence to get the place he desires on the course shows how much she wants him to do well. Henry Everett is fine as the ship pilot, Michael; for example how the little flashes that he is present in the show conveys how his own marriage is being wrecked by some force and this may be the steel works that he works at and when the way in which he comes to seek help for his tragic accident portrays some of the ill-fated parts that life has to throw us. 

Alice Hamilton’s direction is marvellous here as she has fruitfully directed a play with clearly defined characters and we are taken into how each life can be interconnected in some way and the journey of both Jack and Martin shows how people who have gone through similar situations can give you the most useful advice. James Perkins’ design is resplendent as the Teeside bird watching hotspot has been perfectly brought into the in-the-round configuration of the Orange Tree and the actual scenic art and construction is awesome too and the costumes engrosses us into the 1970’s atmosphere. Overall, the experience of, ‘German Skerries’ to be such a fitting undertone of the many moments that makes us a human being in terms of life’s many challenges and it’s a divine revival which is much deserved.

'Ma Rainey's Black Bottom' National Theatre, Lyttelton ****

Incorporating actor musicianship as an integral element of a play can be a delectable part indeed, moreover, how the challenges of dealing with music divas in order to produce a record shows how much producers, managers and artists are under extreme pressure to meet strict deadlines. The National Theatre’s production of August Wilson’s 1980’s play, ‘Ma Rainey’s Black Bottom’ was such an energizing story about the music business and racism, in addition to this, the representations were smartly depicted.

‘Ma Rainey’s Black Bottom’ is set in Chicago, March 1927 where we are habituated with prima donna, Rainey who enters the recording studio as she is taking some time out from her tour where she is going to release her latest album, on the other hand, her personality causes some ructions with the owner of the recording studio, Sturdyvant (Stuart McQuarrie). Rainey’s agent/manager, Irvin (Finbar Lynch) has to reassure him that Rainey will be on her best behaviour, but he doesn’t seem all that convinced by it whatsoever.  When Cutler and the band, Levee, Toledo (Lucian Msamati) and Slow Drag (Giles Terrera) and as soon as they come into the recording studio they are escorted to the room in the basement where they will be rehearsing in. Levee is wearing a new pair of Florsheim shoes which is to suggest that the tastes of music have changed from blues to the more upbeat jazz and swing. Levee is extremely full of himself and states to the band that they will be recording his version of the song, “Ma Rainey’s Black Bottom” rather than the original version as it has been agree with him and Studyvant. Over the course of the performance, the band constantly jeers at one other and Levee quarrels with just about anyone, however, this turns when they all reveal how they have had to battle their own experiences of racist abuse from the white people in the area. As soon as Rainey, her nephew, Sylvester (Tunji Lucas), her daughter Dussie Mae (Tamara Lawrence) are brought into the studio by the Policeman (John Paul Connolly) as she has been caught assaulting a taxi driver. We can see that Rainey is not impressed by how black labour is treated; as such she communicates with Irvin in a direct manner; especially how Sturdyvant tries to speak to her in a condescending approach. Racism plays an enormous section in the production and this is depicted how the band speaks to one another, conjointly the white people think they’re more senior than them. Tension is in the air as Rainey demands that Sylvester does the introductory part of the song, on the other hand, the band and Irvin are worried that Sylvester has a stutter and that it wouldn’t be such a brilliant idea. Her demands become overwhelming such as refusing to sing unless she has a Coca Cola in her hand and many more along the way, however, the reasoning behind this is to inform her agent/manager that they cannot take advantage of her and the band too. Levee is soon sacked as he is caught having a romantic liaison with Ma Rainey’s daughter. At the finale, a bitter bloodbath enrages when Levee stabs Toledo in the chest not just because he accidentally stood on Levee’s new shoes but he was in the wrong place at the wrong time as Studyvant has just fired him. Wilson’s narrative is consummate as we are given an in-depth portrayal of how racism has played a gargantuan effect on how the whites and blacks have existed for centuries as well as of the chanteuse presences in the music business, which is still in existence today i.e. Madonna and Mariah Carey. 

One found the performances by the company of, ‘Ma Rainey’s Black Bottom’ to be immeasurably earthy as they conveyed the brutal truth of the prejudice that existed at the time and this has been done with champion vocals through to the actor musicianship and movement executions. Sharon D Clarke is stupendous as the strong diva, Ma Rainey; in particular how we can see that she does not suffer fools gladly i.e. with Levee where she slams him down with her vocabulary plus her actual vocals didn’t disappoint me in the slightest. Clint Dyer is fantastic as the authority figure in the band, Cutler; primarily how we see him trying to calm the fraught atmosphere that is occurring in the basement rehearsal room, furthermore, it appears to be quite trying when he has to deal with Rainey’s lengthy demands. O-T Fagbenile is superb as the impudent and rather irritating, Levee; mainly how you can see that his actual presence in the band is really causing the problems to transpire, on the other hand, you can see him being fragile when he talks about his horrific abuse from the white people. 

Dominic Cooke’s direction is abundant here as he has been able to really capture the theme of racism with such sincerity and how such people like Ma Rainey has the strength to stand up for herself and those around her who are in the same scenario as her, plus it shows how the music business was cut throat then and this remains today. Ultz’s design is impressive as we are transported to the 1920’s music studio with such flair and ease and the way in which the floor moves up to reveal the basement rehearsal room shows how well the designers work with the National Theatre’s beautiful spaces. Overall, the experience of, ‘Ma Rainey’s Black Bottom’ to be an ethereal one as the combination of the actor musicianship through to the moving moments suggests that this revival is just what the doctor ordered.

'Merit' Finborough Theatre ***

Usually it’s children who normally take advantage of their parents, on the other hand, under extremely out of the ordinary circumstances this can be flip reversed  where a mother tries to manipulate her daughter just for her money not the fact she wants her around because she’s her child. The Finborough Theatre’s production of Alexandra Wood’s play, ‘Merit’ was an agreeably pleasing production on how money is pushing a mother and daughter a part; also the portrayals were credible in the 75 minute show.

‘Merit’ is set in Spain, 2013 where we are familiarised with highly-stung daughter, Sofia who has recently been employed as a PA to an illustrious Spanish banker, nonetheless, her mother, Patricia suggests that she wasn’t offered the job simply  for her work ethic, but for flirting with him, which she finds to be completely ludicrous. With this in mind, there is a clash of opinion as Sofia is unhappy that her mother thinks this of her so she makes the decision to move out of the family home and reside at her friends. Over the course of the performance, Sofia’s father and Patricia’s husband, who is not in sight is not exactly helping the awkwardness of Sofia and Patricia’s mother-daughter exchange where we are informed that he has lost his job, considered suicide attempts, finding a new job and most significantly his urge to have the two most important women in his life to live together in the same home.  Patricia is being quite childish when it comes to realising her responsibilities such as getting a job herself and not always relying on her daughter to work and pay the bills, furthermore, she constantly embarrasses Sofia as she stands outside the bank’s HQ where she demands a meeting with Sofia’s boss, Antonio. You can see how mature Sofia is for someone of her age as her job is very well paid as it is obvious that she has much respect for Antonio because he has given her a massively good opportunity which Patricia doesn’t appear to comprehend and appreciate.  In order to understand Sofia’s admiration of her boss, Patricia asks Sofia to invite Antonio for dinner sometime and Sofia says that she’ll ask him despite the fact that Antonio is in fact a married man. Throughout the performance, the Spanish economy is in financial ruin so the Spanish people are noticeably angry and wreak havoc on the banks where in this instance, we learn that Antonio has been massacred by a group of protestors. At the finale, Sofia is told by her own mother that she participated in the murder of Antonio and she does not seem to appear apologetic whatsoever; as such a colossal wedge is brought between them which could mean their relationship is beyond repair. Wood’s narrative is suitable as we can see how mediums of exchange and perceptions causes a mother and her daughter to be at each other’s throats which isn’t healthy whatsoever in particular how selfish Patricia can be towards her daughter, Sofia and criticises her choices. 

One found the performances by the company of, ‘Merit’ to be sincere as the two-hander approach to the whole production has enabled us to see how the relationship between the mother and daughter was incalculably fraught and this is shown through appropriately convincing diction, intonation, pace, pause and articulation. Ellie Turner is acceptable as the feisty, Sofia; for the most part where we can see her displeasure due to the fact that her mother doesn’t really approve of her occupation, moreover, there’s an essence of upset here because of her mother’s unloving nature towards her which means she must take offence to a lot of what people say to her. Karen Ascoe is tolerable as mother, Patricia; especially how staggering it is to see a mother treating her daughter with utter disregard as she is the one who is bringing the money to the table, as well as, her idiotic persona ultimately makes you sympathise with the daughter profusely. 

Tom Littler’s direction is pleasing here as he has captured how roles can be flip-reversed where your empathy is on the side of the daughter compared to that of the mother, plus, the analysis of how money comes to play in fracturing a relationship that is already at the point of its end is well defined through the characterisations from a comfortable two person company. Phillip Lindley’s design is lovely as you do realise of your location which is a modern Spanish city and the traverse staging is quite good to see as the darkness of Rob Mills’ wonderful lighting design fully encapsulates the harsh reality of the power of money. Overall, the experience of, ‘Merit’ was an interrogation into how parents can hoodwink their children no matter what age they are into doing what they are told which is not that nice.

'Correspondence' Old Red Lion Theatre ****

Technology embedded in computer games has markedly advanced over the last couple of decades where now someone from one country can physically engage with another player from a different nation, on the contrary, could these developments prove to not be such a good thing after all where mental health is at play? The Old Red Lion Theatre’s production of Lucinda Burnett’s play, ‘Correspondence’ combines fledgling friendships, mental health and a rescue mission in a really interesting way, moreover, the performances were exemplary in its entirely.

‘Correspondence’ is set in both Stockport and Syria, 2011 where we’re acquainted with teenagers, Ben and Jibreel who are only communicating through headsets playing on the Xbox and it appears to be quite a normal gameplay, but Ben’s inquisitive journalistic nature initiates as he asks Jibreel  about the Syrian upheaval, which is clearly in a destitute state. Ben’s divorced parents; Fran (Joanna Croll) and David (Mark Extance) are repeatedly bickering over their son and how he is being brought up; especially at weekends where Ben has to stay with his father every other weekend. These conflicts are impacting on Ben’s confidence and at school he is a victim of bullying and one such tormenter, Harriet decides to interfere with Ben’s strategies and his life in general. Whereas, like most of the United Kingdom who are mostly interested in the marriage of Prince William and Kate Middleton, Ben is conjuring a plan to venture to Syria and rescue Jibreel as he has fallen off the radar as Ben cannot seem to manage to contact him whatsoever. Over the course of the performance, Ben and Harriet prepare to jet off to Syria and lie to the school and their parents of their whereabouts and when they arrive in Syria, Ben and Harriet are flabbergasted by the severity of the situation. As soon as Ben meets Jibreel face-to-face for the first time, Jibreel is shocked by Ben’s appearance and he makes it very clear that blocked Ben from his contacts as he was talking to him way too much. Due to this, Ben’s mental state is pushed to its limit and frighteningly he attacks Harriet as she keeps forcing him to forget his proposal and stating that they should go home which Jibreel agrees. As such; with comprehensive persuasion and when the authorities know of their presence there, Ben and Harriet are flown home to Stockport. Throughout the performance, when Ben is back home in a vastly poor mental state, he has spent a period of time in a mental health institution which means he hasn’t been able to go to school because of it. Harriet comes to visit Ben when he is at home on the day of William and Kate’s matrimonial. In order for Ben to become better again, Harriet thinks it might be effective if Ben and her plays on the Xbox, understandably, Ben is a little apprehensive about this, but, he does his level best to play the game with Harriet. In addition, Ben’s parents, Fran and David endeavour to stop arguing for the sake that their son’s joviality increases in the healing process. At the finale, Jibreel communicates with Ben via the Xbox as he is studying at a London university where he has been experiencing troubles in being able to get his parents on the phone and he pleads with Ben to help him and Ben doesn’t think that this is a good idea, then again, he does his damnedest to help his online friend. Burnett’s narrative is marvellous as the combination of the themes into one plot is not only risk taking but how the use of technology could aid in solving some of the world’s leading problems; moreover, the relationship with Ben and Jibreel is well established through comedy and emotion. 

One found the performances by the company of, ‘Correspondence’ were swimmingly sublime as all of the elements within the roles have encapsulated the turmoil that Ben and Jibreel are facing in polar opposite scenarios and the threat of computer games technology. Joe Attewell is grand as the troubled teen, Ben; specially how his investigative nature proves to become an unhealthy obsession that leads not only him in danger, but Harriet too, alongside this, the moments with Jibreel really cemented how the WiFi evolution means that communications skills are not helping people at all. Ali Ariaie is charming as Syrian teen, Jibreel; in particular how amusing he comes across when we learn how much he really likes the music by American singer, Katy Perry, yet, his patience is under pressure by the arrival of Ben and it shows that the friendship that Ben thinks he has with Jibreel is not real. Jill McAusland is excellent as school bully turned friend, Harriet; such as how we see her character develop from someone we despise because she bullies Ben to someone we can identify with as she softens into quite a respectful friend to Ben where she doesn’t turn her back on Ben when he attacks her. 

Blythe Stewart’s direction is awe-inspiring here as she has brought to fruition the playwright’s work with such an impressive approach where we can see how two teenagers from completely opposing backgrounds have been brought together through the power of the Xbox gaming phenomenon where WiFi can aid in this, besides this, there’s an futuristic tale to this too through to the scene changes. Bethany Well’s design is whimsical as the set consists of like a portal that acts as Ben’s bedroom and you can see the technological atmosphere due to this structure that is in positioned in centre stage, additionally Christopher Nairne’s lighting design is striking as he has crafted it to feel like the games technology and wires are transporting Ben and Jibreel together into a bizarre form of alliances. Overall, the experience of, ‘Correspondence’ was such an intriguing tale of how two nations are being interconnected through the Xbox games console and the complications that being fixated on it can have on your brain and its functionality.  

'Guys and Dolls' Savoy Theatre *****

I everlastingly think that revivals of plays and musicals should be recharged in order to preserve the history of not only British Theatre, but international theatre too and the ceaseless amount of Chichester Festival Theatre West End transfers have really sustained the archiving of the dramatic art. The West End transfer of Joe Swerling and Abe Burrows’ 1950’s musical, ’Guys and Dolls’ was an elegantly and engrossing production with extravagant exhibitionism’s throughout which is fabulous to witness.

‘Guys and Dolls’ is set in New York City where we are habituated with Nathan Detroit, the leader of an prosecutable floating crap game, he along with his employees, Nicely-Nicely Johnson (Gavin Spokes), Benny Southstreet (Tom Hayes) and non-employee, Rusty Charlie (Carl Patrick) are finding it incalculably difficult to find a venue for it at Lt Brannigan (William Oxborrow) and the police force are always one step in front of them. Detroit needs $1,000 for the venue so he thinks that if he bets gambler, Sky Masterson that he will not be able to take a woman to Havana, Cuba for a night, therefore, Nathan will be able to pay the owner of the venue the correct amount of money. Throughout the performance, we are taken to the Save-a-Soul Mission which is governed by saintly Sarah Brown and with assistance from her grandfather, Arvide Abernathy (Neil McCaul) who tries to help sinners repent and amend their ways.  However, her mission could be forced to close its doors by General Matilda B Cartwright (Lorna Gayle) as this specific mission hasn’t had a great number of sinners coming forward. As such; when Sky invites Sarah to Havana for the night on the understanding that Sky with bring his fellow gamblers to the mission to an important meeting which with either save the mission or close it altogether.  When they’re in Havana, Sky and Sarah embark on a slight kinship which is helped by the two guzzling down lots of cocktails, yet this transient as Nathan and the other bettors swoop out of the mission where the crap game has been held and Sarah is outraged with Sky as she thinks he knew all about it which is completely untrue.  Nathan’s partner, Miss Adelaide, a dancer has been lying to her folks for years about the fact that she is not really married to Nathan and that their four or five children do not exist. When Brannigan is suspicious of events, they lie and state that what is actually the crap game is in fact Nathan’s surprise stag do.  Upsettingly enough when he does not show up for their elopement as he is managing the crap game in the New York City sewers she is distraught and concerted with Nathan and wants nothing to do with him ever again. In order to show Sarah that he loves her, Sky persuades the gamblers to show up to Sarah’s mission and he is able to provide these in order to impress General Cartwright. Cartwright is impressed with the turn out and even Big Jule (Nic Greenshields) and Benny unintentionally testifies their sins, but when Harry the Horse (Cornelius Clarke) blurts out the truth it makes it awkward with Sky and Sarah. Over the course of this, Nathan opens up about how he held the crap game as he won the bet that Sky couldn’t take Sarah to Havana which stuns Sarah as she realises that Sky’s affections are real. At the finale, Sarah and Adelaide see each other once again and the two of them decide to forgive Sky and Nathan and marry them, a weeks later pass and Nathan now runs a newspaper stand and Sky is now employed by the Save-a-Soul Mission. Swerling and Burrows’ narrative and Frank Loman’s music and lyrics are outstanding and majestically gripping as we can see how gambling and those involved in illegality can revert their ways, plus, the musical numbers like “Guys and Dolls”, “I’ve Never Been in Love Before”, “Luck Be a Lady” and “Sit Down You’re Rockin’ the Boat” had such a high octave of energy and moving moments within them too. 

One found the performances by the company of, ‘Guys and Dolls’ to be stupefying as vocals, dance sequences and the actual characterisations have been performed with precision and ease, furthermore, they are unbelievably genuine and not false whatsoever. Sophie Thompson is scintillating as Miss Adelaide; particularly when you can see how that because Nathan has treated her so badly in the past that this makes her quite strong but when she is stood up by Nathan as they are about to elope, you can see that her emotions are put to the test and she is finally able to accept that Nathan is untrustworthy. David Haig is alluring as the chief gambler, Nathan Detroit; primarily how the status he has a gambler has made him an easy target for the police and the desperation he has in trying to get the money for the venue shows that he positons gambling before his partner, Miss Adelaide which I find quite repulsive. Jamie Parker is remarkable as Sky Masterson; expressly how lovely it is to see how the development of his feelings for Sarah depicts that he is ready to move on with his life to something more honourable and in actual fact he has a smouldering presence that exudes through his facial expressions and vocals. Siubhan Harrison is wonderful as Save-a-Soul Mission manager, Sarah Brown; exclusively how her somewhat tense presence does soften as Sky makes a move on her and it appears that she doesn’t really attract male attention all that often, as well as, the scenes with Sky are sweet. 

Gordon Greenberg’s direction is glistening here and with awesome choreography by Carlos Acosta and Andrew Wright the three have been able to refresh this production into something original that is what you’d like to see from a revival as it’s easy to copy someone’s work but this has not been the case here, additionally, the journey of gamblers and those around them has been interpreted to perfection.  Peter McKintosh’s design is absolutely fabulous as we are categorically transported to the New York City 1950’s environment as the scenic art and construction departments have really encapsulated both the NYC sewers, the Save-a-Soul Mission and the Havana nightlife with a high-quality finish and the costumes were transcendent too. Overall, the experience of, ‘Guys and Dolls’ was one of such luminosity and a revival that is poignant in reigniting the history of the international musical with finesse.

'wonder.land' National Theatre, Olivier ***

The National Theatre has been presenting some interesting and daring productions since Rufus Norris was handed the reigns as Director of the theatrical concrete jungle last year such as the collaborations with regional theatres, and a musical based on a re-invention two childhood classic novel that has mixed the virtual world with the real world is quite a fresh and innovative idea. The National Theatre’s production of Damon Albarn, Moira Buffini and Rufus Norris’ musical, ‘wonder.land’ was a knee-slapper of a show where the weird and wonderful are put together, in addition to this, the representations were great all round.

‘wonder.land’ which is inspired by Lewis Carroll’s novels, ‘Alice in Wonderland’ and ‘Through the Looking-Glass’ is situated in London and a virtual world that is called, ‘wonder.land’ where we are introduced to schoolgirl, Aly who is a lonely person as she does not have any loyal friends at school whatsoever. Her mother, Bianca (Golda Rosheuvel) is concerned for her daughter’s welfare as she has spent to entire weekend inside the house and playing games on her phone, however, due to an altercation where her mother and father, Matt (Paul Hilton) who are going through a messy separation at the supermarket it appears to have taken its toll on Aly. Due to this situation, she posts something with the hope that she may seek some comfort and positivity from people at school; on the other hand, this does not go according to plan as she is taunted relentlessly over this and may other things. Aly comes across an app called ‘wonder.land’ and the MC who becomes the Cheshire Cat welcomes her to the game and Aly then decides on the avatar and for her she creates an attractive and skinny version who she names, Alice (Carly Bawden) and strangely enough the two form a bond. Over the course of the performance, in Aly and Alice’s quest to find the White Rabbit (Joshua Lacey), they come into contact with other avatars who are being controlled by other players, each of who are facing their own battles and difficulties and these are brothers, Dum (Sam Archer) and Dee (Leon Cooke), Humpty (Daisy Maywood), Dodo (Ivan De Freitas), Mouse (Ed Wade) and Mock Turtle (Cydney Uffindell-Phillips) and in the process of the game they all form a kind of friendship amongst it all. At school, Aly’s headmistress, Ms Manxome who is quite a force of nature and scarily crazed woman is notified about the fact that Aly has been using her phone in class by Aly’s teacher, Mr King (Adrian Grove) as she’s been distracted by ‘wonder.land’, Ms Manxome then confiscates her phone.  Intrigued by the game, she then decides to use Aly’s account and remodel Alice into a ghastly character that is rude to the other avatars and forces them into some form of exile. Aly is determined to regain control of Alice as her account is at the point of being shut down as Ms Manxome is breaking the terms and conditions of the game. During the production, Aly and her classmate, Luke Laprel, another bullied teenager joins forces with Aly through another game to prevent Ms Manxome from destroying her enjoyment and from upsetting the other players in the game whose avatars have been captured. When Aly breaks into Ms Manxome’s office to be re-acquainted with her phone, Ms Manxome then attacks her and with the help from her parents and Luke she is forced to stop and as such; she is then taken away by the police and charged with assault. At the finale, Aly apologises to the other ‘wonder.land’ gamers and decides to close down her account and move on with something else, as well as, her mother and father re-kindle their marriage and Aly and Luke’s friendships moves on from strength to strength. Buffini’s narrative is appealing as the whole concept is very quirky, but with some flaws in the plot which are immensely miniscule we can see how technology is overtaking everything and using Carroll’s books as a base for this is frankly imaginative and with her lyrics and Albarn’s music such musical numbers like, “Who’s Ruining Your Life?”, “I’m Right”, “Fabulous” and “wonder.land” they frame how the musical is going to progress. 

One found the performances by the company of, ‘wonder.land’ to be pleasantly alluring as the vocals were polished and the movement arrangements had an air of a childlike and computer/phone game quality about them such as when the White Rabbit makes his appearance. Lois Chimimba is splendid as troubled teen, Aly; especially how we can see how her parent’s quarrels and bullying are impacting on her life, but when ‘wonder.land’ enters her life she begins to cheer up as she forms new friendships and her moments with Alice and Luke increase her advancement and happiness. Hal Fowler is great as the MC/ Cheshire Cat and Caterpillar; largely how powerfully commanding he is as he has the responsibility to narrate the proceedings with a chilling and enchanting manner just like the Cheshire Cat and Caterpillar is in the novel and the many films, as well as, the voice boomed through the auditorium.  Anna Francolini is positively fascinating as the petrifyingly bloodcurdling, Ms Manxome; principally how engaged and fixated she becomes with ‘wonder.land’ as we learn how secluded she feels which is why she uses Alice as a form of a revenge strategy where she be the ultimate ruler of the fictional land and we can deifnately see the Queen of Hearts resonating there. Enyi Okoronkwo is courteous as hapless schoolboy, Luke;  particularly where we see him finding the courage to come out to Aly as gay and he seems to feel that with Aly speaking to him as she needs his help to prevent Ms Manxome he can begin to stop putting himself down and stand up to the bully, Kieran. 

Rufus Norris’ direction is excessive here as he has been able to transport us into two worlds, one real and one fully fictitious and how gamers can work together in bringing down someone who wants to destroy the value of the game as a source of comfort, in addition to this, Javier De Frutos’ choreography was quite kooky and hilariously manoeuvred. Rea Smith’s set design, Katrina Lindsay’s costume designs and projections by 59 Productions were awe-inspiring as we are able to be absorbed into ‘wonder.land’ and how the costumes vibrated the characters that are so renowned in the other forms of media and projections completed this to the full. Overall, the experience of, ‘wonder.land’ was one that has enabled us to see the changes of how musicals have been achieved and despite the glitches in some elements, the show was still pleasurable.