★★★

“The themes are beautifully dealt with in song”

Moominvalley in November is a musical homage to Tove Jansson’s much loved Moomin family. Most particularly it is based on her final book in which the Moomins themselves never actually appear.

It’s important to say that upfront because if you haven’t actually read this book (as a child I read and adored all the early ones) you – and any children you bring along – are going to be very disappointed not to see even one hippopotamus-like creature on stage. There is a slight exception to this, but that would be giving too much away.

What this piece is actually about is loss, resilience and rediscovery. The book itself, on publication, was hailed as a meditation for all ages (they all are) and “the wisest and most moving book about mourning that I have ever read” (Frank Cottrell Boyce). Bear that in mind as you go and see this.

The story centres around five very different characters – some of whom we have met in Jansson’s other books, such as Snufkin – who find themselves arriving at Moominvalley, just before winter. They arrive simultaneously, all seeking the comfort of the family for different reasons. All are devastated to find the family gone, not to return. Over the course of the next two hours they have to come to terms with this, learn about getting along with each other, and undertake their own transformation.

The choice by Hans Jacob Hoeglund (book, music and lyrics) to turn this tale into a musical, was absolutely the right choice. The themes are beautifully dealt with in song. Not all of them come off, but there are one or two that you will find yourself humming as you leave the theatre. The set (Lu Herbert) is suitably whimsical. Director and choreographer Amanda Noar extracts committed performances from the actors: Jane Quinn, Matthew Heywood, Stuart Simons, Izzie Winter, Martin Callaghan and Abigail Yeo. They are all fine singers and good physical actors; and the pace of the production never lets up.

Yet somehow, for all the energy – and a huge, talented, creative team – it doesn’t quite gel properly and comes over as chaotic. My theatre-going companion, who had no previous knowledge of the Moomin books (hard to believe, but there are some) was bewildered: she had no idea what was going on and found the characters unlovable. That is a serious fault: Jansson always handled oddness with brilliance and empathy. Throughout her books, readers are led to open their hearts to even the most weird and potentially repellent – think Groke, who gets a mention here. Jansson’s writing is celebrated worldwide, not just for its beauty but also because early on she showed the case for tolerance and understanding.

I suspect the team should have paid more attention to the reality that any stage production of a loved book must, ultimately, be able to stand on its own. This is a musical being premiered at Upstairs at the Gatehouse and has great potential. It needs a clearer narrative and tough filtering to warm our hearts and to open up the beautiful story to a new Moomin audience.

ALICE IN WONDERLAND

Marylebone Theatre

★★★

“a visually striking, fantastically acted, fun family show”

Lewis Carroll’s Alice in Wonderland is a classic and this adaptation, written by Penny Farrow and produced by Ethan Walker, Nate Bertone and DEM productions, is a stunning family-friendly take with a grown-up edge, though not without flaws.

On a sleepy afternoon, Alice follows a waistcoated white rabbit into Wonderland. She meets many colourful characters (literally and figuratively), and navigates a maze of nonsensical rules until, emboldened by confidence and frustration, Alice finally takes a stand.

Aimed at a younger audience, Farrow’s writing distils the more iconic moments and cuts others (such as the pig baby). This brings out a coming-of-age story of sorts, highlighting Alice’s transition from ingénue to self-possessed young adult, underscored by delaying Alice’s re-enlargement to later in the plot. Perhaps Carroll wouldn’t have approved, as I understand he helped end didacticism in children’s literature; but I find it more satisfying and meaningful. Farrow hasn’t forgotten about the adults either, weaving in a layer of modern parody which I think Carroll would have approved of. Though the first act could have done with more jokes and silliness to match the pacier and funnier second.

Director Bertone and Associate Director Eva Sampson lean into the more magical moments, bringing them to life without special effects. For example, Alice’s shrinking uses expertly timed sound and movement plus enlarging props. Though the stand-out is the puppets, designed by Bertone and Chris Barlow, which bring the real magic. This elevates what is already a visual feast – the second you walk in, you see the stunning Wonderland set. Designer Bertone, Associate Designers Will Fricker and Christian Fleming, and Assistant Set Designer Mauri Smith realise a fantastical space, with playing cards suspended above you as if whizzing about. The stage transforms delightfully with each scene, most impressively into the Queen of Hearts’ garden complete with throne and more in jokes (Queen, you did indeed slay). Not to mention Zoe Burt’s sumptuous costumes, including Alice’s embroidered blue and white dress referencing key plot points. Hair and make-up extend the magic, with a range of contrasting styles from Tabitha Mei-Bo Li. Lighting designer Jack Weir expertly evokes the right mood at the right time, from mysterious to matter of fact to menacing. Evan Jolly’s composition seamlessly complements the action. Ella Wahlström’s sound design perfectly punctuates certain moments too, such as the hedgehogs’ whacks during flamingo croquet and their subsequent plaintive cries.

The cast are fantastic. Charlotte Bradley is completely immersed in her Alice and executes physicality with precision. Katriona Brown and Skye Hallam as Tweedles Dum and Dee are hilarious, nailing the comic timing. Daniel Page’s (drag) Queen of Hearts is brilliant, camping up the character without losing an ounce of malice. Eddie Ahrens’ Cheshire Cat is a movement masterclass, with skilful characterisation and choreography. Clare Brice’s White Rabbit pulls off acrobatics while maintaining a nervous edge. Sean Garratt’s Caterpillar is elusive, but it’s Garratt’s Dormouse who steals my heart with his endearing characterisation and reactions. Honey Gabriel’s Hatter and Matthew Heywood’s Hare bring madness and joy to the party.

A few things are less successful. As well as the first act being slower, the pacing is a little inconsistent, spending a long time on Alice’s shrinking and crying. The narrative climax lacks punch: during the pivotal moment involving a deck of cards, said deck appears… and then sways about, evoking a convenient scene change rather than a threatening moment. With what looks like two downstage microphones and no headsets, the dialogue is harder to make out upstage and sometimes drowned out by music (or children). Given this version is abridged with some rather wordy passages, it impacts the flow and loses you at points.

That said, if you’re looking for a visually striking, fantastically acted, fun family show that children and adults will get something out of, Alice in Wonderland is a treat. Though if you’re not bringing children, it might not be for you.

MOOMINVALLEY IN NOVEMBER

Upstairs at the Gatehouse

★★★

“The themes are beautifully dealt with in song”

MOOMINVALLEY IN NOVEMBER

Upstairs at the Gatehouse

Reviewed on 28th October 2025

by Louise Sibley

Photography by Simon Jackson

Previously reviewed at this venue:

MOOMINVALLEY

MOOMINVALLEY

MOOMINVALLEY

ALICE IN WONDERLAND

Marylebone Theatre

★★★

“a visually striking, fantastically acted, fun family show”