Tag Archives: Sasha Howe

ALICE IN WONDERLAND

★★★

Theatre Peckham

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

ALICE IN WONDERLAND

ALICE IN WONDERLAND

WYLD WOMAN: THE LEGEND OF SHY GIRL

★★★★

Southwark Playhouse Borough

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

★★★★

“Renner’s script flows beautifully even though it meanders madly”

Most people, at some point in their life, have had an imaginary friend. Being shy isn’t necessarily a prerequisite for this, but it often goes hand in hand. It is liberating, like talking to a pet. One can be candid, loquacious and fearlessly honest – traits that might elude us when plunged into social situations. Not many of us, however, have switched this idea on its head. What is it actually like to be that imaginary friend? Well, the answer lies in Isabel Renner’s raunchy one-woman show, “Wyld Woman: The Legend of Shy Girl”. Renner has a theatre full of fantasy companions, and it is an absolute joy to be in their company.

Renner is the eponymous ‘shy girl’, on the cusp of throwing her first house party. She is unnamed, but we are all given tags to write our own names on as we take our seats. Some of us are seated at a table onstage, with paper cups and plates – doubtlessly pilfered from a child’s birthday party. Lucy Fowler’s realistic, studio apartment set is dominated by shades of pastel pink, offset by the optimistic glamour of silver balloons. Into this setting, ‘Shy Girl’ shuffles, hunched under the weight of her anxiety. Fidgety and nervous, and somewhat geeky – in a pared down, Emo Philips kind of way. But don’t be fooled. She may be cripplingly inhibited, but Renner herself doesn’t shy away from giving a captivating and assured performance. One that takes some unexpected turns, especially when she adopts other characters. Don’t take your maiden aunt to this show – the language is quite graphic and explicit. She’s pretty forthright, particularly when describing her first fumbling forays into foreplay. By now she has stripped down to a ludicrously Paris-themed, spangly leotard while confessing to still being a vegan “sorry… a virgin – I get them mixed up!”.

Renner’s script flows beautifully even though it meanders madly. And just as polished is Renner’s ability to switch into other characters. We meet her insufferable flatmate, Memphis; we witness her confrontations with her restaurant boss, Patrice, who would give Miranda Priestley a run for her money. Her work-mate and first-date, Pino, is hilariously and satirically portrayed (reminder – keep your maiden aunt away), as is Twilight, her sex therapist; and a leering Rock Star; and finally a gorgeous imitation of a precocious six year old – who happens to be Shy Girl’s unwitting life coach, analyst and confidante rolled into one. Each orbital character is outrageous, yet authentic and comically observed.

As Shy Girl, she is suitably self-deprecating, but beneath the outlandish humour there are layers of vulnerability. ‘You are so quiet it is hard to connect with you’ is a comment repeatedly aimed at her. The ‘cool guys’ (she calls them ‘legends’) that she invites to her party don’t show up. She has to make do with us – her imaginary friends. The relationship she builds is real and organic, and probably different from night to night, but Renner adapts with ease to the situation. It is an intimate experience that gets to the heart as well as our funny bones. While we are laughing loudly, we are quietly uncovering truths within ourselves.

Cameron King’s sharp direction makes good use of the furniture, taking advantage of Renner’s suppleness as she stretches across the table, mounts the fridge or changes an imaginary light bulb. Each movement is a cue for a joke. And each joke, a cue for something else unexpected. Renner knows that shyness is no joke, but by turning it into comedy it makes us receptive to the reality. But enough of the psychobabble, just go along for the party. She’ll be absolutely thrilled you turned up. And so will you.

 

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

Reviewed on 24th October 2025

by Jonathan Evans

Photography by Charlie Lyne


 

Previously reviewed at Southwark Playhouse venues:

LIFERS | ★★★ | October 2025
THE CHAOS THAT HAS BEEN AND WILL NO DOUBT RETURN | ★★★★★ | September 2025
THE ANIMATOR | ★★★ | August 2025
BRIXTON CALLING | ★★★★ | July 2025
THE WHITE CHIP | ★★★★ | July 2025
WHO IS CLAUDE CAHUN? | ★★ | June 2025
THE FROGS | ★★★ | May 2025
RADIANT BOY | ★★½ | May 2025
SUPERSONIC MAN | ★★★★ | April 2025
WILKO | ★★★ | March 2025

 

 

WYLD WOMAN

WYLD WOMAN

WYLD WOMAN