THEATRE AT HOME REVIEW: Wonderland ★★★

Wonderland
The Hampstead Theatre, London
Digital Streaming Until Sunday 12th April 2020

Originally Streamed on The Guardian’s Website in July 2014, The Hampstead Theatre’s 2020 digital streaming initiative continues with Beth Steel’s production taking over the web for the week. Based around the real life events of the 1984 Miners Strike,  Wonderland follows the story of two young 16-year-old boys, Malcolm (David Moorst) and Jimmy (Ben-Ryan Davies) who are about to discover what the mining world is truly like. Steel’s script slashes between the lives below the surface to juxtaposition with those in charge above. Directed by Edward Hall, the piece constantly holds up where it can, coming off with razor-sharp humour, displaying throughout the musical talents of the company as they cross-fade into juxtaposed settings.

Following on from last week’s stream of Mike Bartlett’s Wild, the overriding similarity between the two productions has been the sheer detail and effort that has gone into the set design. Ashley Martin Davis’ steel-like decking and suspended bridge, along with an animatronic cage lowering the bustle of miners below to their underground dungeons, is utterly compelling and atmospheric. The attention to costume and skincare furthermore genuinely makes you feel the sweat coming off the performers on stage, so much that I had to remind myself at times that it was just a play, because the nature of the ambience is second-to-none, though sadly it doesn’t necessarily feel like it’s held up when we return to the surface as politics are discussed.

What also felt disjointed was the difficulty to focus on the storytelling of the piece when the camerawork comes off unjust in the way that we never get the full image of the situation due to odd angles from the footage. On top of the grainy quality that was being produced, it results in Peter Mumford’s Lighting, which seemed to look misty and gloomy below in the cold and uncertain surroundings, with the added bonus of helmet torches to guide the way of action, coming off mistreated. The lasting image of the show however, following on from a rather poignant monologue split between the performers on stage after a harrowing scene from Fanny (Paul Rattray), will remain for many as one etched into the brains of those who remembered the awful climax and corrupted system, which lasted for just under a year and claimed so many lives and arrests to thousands.

Overall, Beth Steel’s Political but Poignant take on such an historic event for millions churns out some exceptional talent in it’s cast, lead by Moorst and Davies who stand amongst a decent ensemble, whilst Davis’ design is one that should be relished, but sadly is hard to completely convey due to bewildering footage on what is otherwise a gritty storyline.