ALICE IN WONDERLAND

Theatre Peckham

★★★

“brimming with energy, colour, music and dance”

Theatre Peckham’s ‘Alice In Wonderland’ delivers a spirited, modern spin on Lewis Carroll’s classic, brimming with festive family fun. True to the company’s mission, the production showcases local young talent, offering a lively, inclusive show that makes for a great family outing this Christmas.

Like most kids, Alice is glued to her phone – until Snowy B drags her down a rabbit hole she can’t just Google her way out of. A festive tale of wit and problem solving, will she outsmart Wonderland and make it home in time for Christmas?

Geoff Aymer’s exuberant script offers a modern spin on Carroll’s classic, exploring technology’s influence on children while encouraging self reliance and problem solving. Inventive touches add richness – from a chess savvy, catwalk stomping Queen of Hearts, to the charming ‘Chesh’ the cat – and varied audience participation creates a panto feel. The dialogue, infused with Multicultural London English and code-switching, is sharp and funny. That said, the plot largely mirrors the original, avoiding bolder departures, and some additions, such as Van Goo and the singing forest sequence, feel less essential.

With director Dr Suzann McLean MBE, Theatre Peckham’s Artistic Director, and assistant director Joe Bernstein at the helm, the production champions accessibility and representation with an ensemble of local talent. Creative staging, high energy choreography, vibrant music, and frequent audience participation create a party atmosphere, while varied use of the ensemble allows individuals to shine. That said, the nearly 20 strong cast occasionally feels cramped and the pacing dips towards the end, but overall it’s full of vitality and drive.

Jordan Xavier’s vibrant score, with musical direction by Ben Christopher, weaves in reggae, soul, gospel and more, keeping the audience clapping and bopping throughout. Infectious rhythms and standout numbers – including Ignatius’ gospel infused anthem and the Hatter’s exuberant Tea Jam – showcase musical flair. Paired with Aymer’s witty lyrics, the contemporary sound lands effortlessly.

Shakeil Edwards’ movement direction is contemporary and fun, prioritising accessibility over complexity for the young ensemble. However, standout hip hop solos and rousing group numbers – especially the Hatter’s Tea Jam – provide real highlights. The execution could be sharper, but the result remains spirited and engaging.

The set design is striking and versatile, with the checkerboard floor gaining meaning as the story unfolds. Archways and silver screens inventively create levels and movement, especially in Act 2, though more roses for speedy Van Van would heighten the visual impact. Sasha Howe’s sound design makes playful use of well timed effects, adding humour and texture. Sometimes the mix overpowers the cast, with lyrics lost in faster or ensemble sections, and occasional missed mic cues leave some lines unheard. Jahmiko Marshall’s colourful lighting design adds spark, though the blackouts at the end of each finale number are a little puzzling. The costume design is striking: the Queen’s red ensemble has the flair of a catwalk piece, while Guru Carter’s blue velvet sleeves and bubble sax add a quirky touch.

Oscar Sinclair impresses as the Queen of Hearts and other roles, offering strong characterisations, magnetic stage presence and fabulous vocals. Felicity Ison brings charm to Snowy B and other roles, elevating the material with assured versatility and an expressive singing voice. Siphiwo Mahlentle brings charisma to Chesh and other roles, delivering engaging performances and smooth vocals. Carma Hylton as Alice radiates warmth and presence, with promise in both singing and rapping, though working on breath-supported projection would allow more nuance. The Team Cerasee ensemble is endearing and energetic. Standout contributions come from Alexander Joseph’s larger than life Hatter, Theo Esson’s impressive dancing, and Flo Swann’s expressive singing.

Theatre Peckham’s ‘Alice In Wonderland’ is a joyful celebration of South London’s diversity and heritage, brimming with energy, colour, music and dance. A charming piece of community theatre, it promises fun for the whole family this Christmas.

ALICE IN WONDERLAND

Theatre Peckham

Reviewed on 9th December 2025

by Hannah Bothelton

Photography by Ahmed Kamara

Most recently reviewed at this venue:

DO YOU WANT SOMETHING TO CRY FOR | ★★★½ | May 2025

RAPUNZEL | ★★★ | December 2023

ALICE IN WONDERLAND

★★★½

“a complex and nuanced exploration of black boyhood, impressive for such a short piece”

Peckham Fringe – hosted by community-led Theatre Peckham, now in its fourth year – is hoping to bring some of that festival magic to south London. For two nights only, writer/performer Jerome Scott, shares his latest work, Do You Want Something to Cry For, also starring performer Abimbola Ikengboju. It’s a compact, 50 minute piece exploring themes of black masculinity, adolescence and friendship using a variety of performance styles to great effect. What can’t be expressed literally through dialogue is instead expressed through poetry, or movement, resulting in a curiously dynamic piece with a slow reveal of its pivotal event.

Scott’s non-linear approach to storytelling is apparent from the get-go. As the audience enters the auditorium, both performers circle a raised central platform shifting in and out of synchronisation, accompanied by an eerie, repetitive soundtrack (Jack D’Arcy). The stage is strewn with piles of dirt scattered with flowers, and an ominous ‘graveyard’ sign, creating a sense of foreboding even before the audience takes their seats.

The play opens with abstract, poetic verses that initially feel obtuse – with Ikengboju speaking of myths and black holes which proves difficult to follow. Then, fairly suddenly, both performers become young children, boasting about who has the latest bed time, playing cops and robbers, and rap battling – serving as a corollary to the poetic introduction.

As the piece moves ahead, Director Mya Onwugbonu uses the set to distinguish between the prosaic ‘reality’ and a poetic liminal space. The central raised platform, and subtle changes in lighting (Jahmiko Marshall) denote a sort of shared dream state where the boys can communicate in a way impossible for them to do in front of the judgemental eyes of others, or even themselves. Scenes of dialogue and action are interspersed with music and movement, functioning as emotional breaks. There’s a notable hesitation between the performers to physically touch, with near misses inciting an outward reaction of searing pain, suggesting an emotional vulnerability and hesitation to get too close or reveal their innermost thoughts.

Instead of expressing themselves to each other, both Scott and Ikengboju narrate their internal monologues – revealing anxieties over growing up as black men, whether they are just pretending, and questioning what is really the difference?

It’s in one of the fugue states that it becomes clear that the graves that have been surrounding them all this time are not literal but metaphorical – graves for all the boys who have been forced to become men too soon. Ikengboju refers to the dead surrounding them but Scott, as the more whimsical of the two boys protests – instead suggesting they are not dead, but “ungoverned and formless” able to call everywhere home – a poignant and uplifting way of conceptualising the past selves of the boys who have come before.

Under Onwugbonu’s direction, Do You Want Something to Cry For comes alive with bursts of movement, poetry, rap, and soundscapes that seek to hint at the multifaceted nature of black masculinity. Scott’s multi-disciplinary style offers a complex and nuanced exploration of black boyhood, impressive for such a short piece.

Tag Archives: Jahmiko Marshall

ALICE IN WONDERLAND

★★★

Theatre Peckham

ALICE IN WONDERLAND

Theatre Peckham

★★★

“brimming with energy, colour, music and dance”