★★★★

“Cookson’s inventive style of directing is – as ever – capturing, stimulating and entertaining”

Wonder Boy by Ross Willis, and directed by Sally Cookson, follows Sonny (Hilson Agbangbe) as he comes to terms with the cause of his stammer; and tries to overcome it. Sonny has a passion for art and creates a comic character Captain Chatter (Ciaran O’Breen) who joins him as he moves to a new foster carer as well as a new school. He is befriended by the hilarious Roshi (Naia Elliott-Spence) and guided by the initially guarded Wainwright (Eva Scott). Wainwright has her own obstacles as she comes up against the new, heartless headmistress Fish (Jessica Murrain) who attempts to change the school for the worst.

Ross Willis has written an incredibly accessible and important story, while Cookson’s inventive style of directing is – as ever – capturing, stimulating and entertaining. The piece shied away from lazy stereotypes while staying current with a clear finger on the pulse of what is relevant for younger audiences.

The stage was bordered with an electric blue, neon light that sizzled on the perimeter of the action. Katie Sykes (set designer) struck a fantastic balance of producing a spacious, de-cluttered stage while chromatically supporting scenes with a variety of levels, thus subtly highlighting areas of the stage for scenes to take place. There was a wonderful interactive backdrop that drew the dialogue of the scenes using the speaking character’s handwriting. This, combined with the sign language that Captain Chatter used, accelerated the inclusivity of the piece and broadened the show’s audience reach while still being able to be clear on the heart and story of the play.

The lighting (Aideen Malone) and sound (Jonathan Everett) were phenomenal, with both mediums truly engaging and gripping the audience. This was particularly apparent in the dream-like states of Sonny’s imagination, where dialogue became echoed and ambient sounds ever-immersive. The overall tightness of Wonder Boy was mesmerising; with tiny minute detail being executed by all of the cast with precision and accuracy.

Agbangbe’s rendition of Sonny was impressively well-found and demonstrated how watchable and gifted he is as an actor. He really showed us how much Sonny’s mother meant to him and how anger is Sonny’s go-to emotion. His accomplice Captain Chatter, seamlessly blended sign language with mime, the exactitude of his movements was awe-inspiring. Roshi, provided brilliant moments of comedy, while having a touching character arc. The eccentric, farce-like Fish brought a comedic level, too, while Murrain’s interpretation of Mum helped to bring Sonny’s emotions out. Scott’s Wainwright superbly presented the deep humanity of teachers. You could feel that audience really resonated with her as a character.

The production values of Wonder Boy – from writing to acting quality to direction, lighting and sound – were magnificently high. It’s an important, unpatronising and downright entertaining coming-of-age story that works wonders at grasping its target audience as well as branching out to wider groups.

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK at the Marylebone Theatre

★★★★

“this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed”

In this visceral dissection of modern Judaism, what greets us first is designer Anna Fleischle’s super chic compact kitchen island: clean lines, cream with marble tops.

Plenty of space also to host that massive elephant in the room. But, in keeping with the metaphor, we’ll ignore that till later.

First, we’re expecting a dinner party, some light bantz, kosher nibbles, and plenty of nostalgia as two former best friends Debbie (Caroline Catz) and Shoshana (Dorothea Myer-Bennett) – both excellent – reunite after an uneasy separation. Both are burdened with regrets and simmering resentments.

Debbie’s husband and reluctant co-host Phil (Joshua Malina) is not happy. Debbie has an equivocal relationship with her Jewishness and he fears orthodox Shoshana will lure his wife away from her liberal life in Florida.

Shoshana and Yerucham (unexpected scene stealer Simon Yadoo) live in straitened circumstances in Jerusalem with eight – count ’em – eight children, working for God and the Jewish state. One couple has everything, the other couple feels superior.

At the beginning, on some point of etiquette, Shoshana says, “Your house, your rules. We don’t judge.”

And so follows two hours of brutal, hilarious, heart-rending judging, which goes both ways and escalates. Boy, does it escalate.

The play is based on Nathan Englander’s 2012 New Yorker article and the title refers to a game of trust – who would you ask to hide you away should the Nazis come?

The ridiculously talented Patrick Marber came in on an adaptation and the production carries many of his hallmarks, notably the humour, which is quippy and clever. Every cast member – especially Aaron Sorkin favourite Malina – has great comic sensibilities and they land the punchlines every time.

You’re never more than five minutes away from a doozy. Referring to his wife’s self-lacerating fascination with Jewish suffering, Phil calls the kitchen “a holocaust-themed food court”.

And so to the elephant. As director Marber and Englander were working on the adaptation, October 7 happened, the Hamas atrocity provoking Israel’s scorched earth reaction.

In response, Marber and Englander set up a couple of well-drilled, well-balanced examinations, the Floridians horrified by the slaughter, the Israelis talking about their right to exist.

It is a necessary addition, but uneasy. Throughout the play, the two couples mine their own – often moving – experiences to make their arguments, so a set piece debate about the rights and wrongs of a Middle East war arrives like a gatecrasher.

To introduce more division, we have Debbie and Phil’s slouchy, cynical son Trevor – a sharp cameo by Gabriel Howell. Something of a stoner and activist, his challenging of convention is so great he breaks the fourth wall to keep us in the loop, at one point urging the foursome to see if they can’t get through the next scene without fighting.

His point is perhaps the most telling. While the secular Jews and the Hasidic couple are taking lumps out of each other, indulging in the vanity of small differences, the world is burning. His generation is doomed while the adults in the room do nothing.

“We pray,” says pompous Yerucham, as a counter punch.

Like the kitchen, this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed. Four heavyweights are on good form and take on a difficult theme with deft and precision. Also, did I mention, very, very funny.

Tag Archives: Recommended Show

WONDER BOY

★★★★

UK Tour

WONDER BOY at the Theatre Royal Stratford East

★★★★

“Cookson’s inventive style of directing is – as ever – capturing, stimulating and entertaining”

WONDER BOY at the Theatre Royal Stratford East then UK Tour continues

Reviewed on 15th October 2024

by Curtis Dean

Photography by Steve Tanner

Previously reviewed at this venue:

ABIGAIL’S PARTY | ★★★★ | September 2024

NOW, I SEE | ★★★★ | May 2024

CHEEKY LITTLE BROWN | ★★★½ | April 2024

THE BIG LIFE | ★★★★★ | February 2024

BEAUTIFUL THING | ★★★★★ | September 2023

WONDER BOY

WONDER BOY

Click here to see our Recommended Shows page

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK

★★★★

Marylebone Theatre

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK at the Marylebone Theatre

★★★★

“this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed”