SUSU Theatre Group 
Annex Theatre, University of Southampton (Highfield Campus), Southampton
David A Putley 
19 November 2025
Lovers of the original Lewis Carroll Alice in Wonderland books, Wonderland and Glass, will not be disappointed by production at The Annexe this week. Eschewing all other versions that have found drawings, cinema and ballet fame, no Johnny Depp or Helena Bonham Carter reproductions here, but pure unique characterisations.
Sticking very closely to the written word of Carroll, Brainerd Duffield’s play is full of the famous quotes and mad adventures that have made the work so beloved. The story is well known: girl dreams of a rabbit hole, falls into it, meets various partisan and nonpartisan characters that may be representational of figures from her present, overcomes all the difficulties and goes home a Queen.
I found Yasmin Haile as Alice wonderfully believable in the role as she navigated herself past each situation. Her Victorian-esque blue dress and black boots were particularly fetching and new interpretation, yet not out of quilter with what was perhaps expected together with a naturalness of touch to all her libretto. Her ‘You Are Old Father Time’ poem reading was very well done. She was very much the glue that kept the proceedings rolling and with so many words to remember too.
Directors Samuel Duffy, Emily Goring and Megan Lawrie have continued this theme in presentation with all the characters being dressed and behaving almost as one would expect, but not quite. This gave the whole production a freshness of appeal and together with a two-tier set, using the under skirting for entrances and exits, gave it flow that perhaps could have been lost otherwise. Wonderland had a frenetic feel whereas Glass, as written, allowed for a little more characterisation and reflection: the scenes with Humpty Dumpty (a very coy Miza Athaaiullah) and Rowan and Libby as mischievous Tweedle’s Dum and Dee were very well thought out and played. The combination of old, perhaps retro, in style for all costumes, together with a modern nod in movement and attitude, was so good to see; the modern audience easily recognising references to current divas and hip hop moves integrating beautifully.
High pitched tour de force diva mode was in full on energetic spirit in Lola Osinowa’s Queen of Hearts, thoroughly enjoying her quick mood changes, carefully strutted walk and repeated “off with your/their heads”. Samuel Lines almost matched her with a White Rabbit that was never far short of a nervous breakdown, with such energy and commitment to the role. Charlie Hodge’s Mad Hatter and Mac Benson-Turnbull’s March Hare worked so well together to create the iconic tea-party scene: diction and understanding of the script, alongside Poppy Hulbert as a playful dormouse, made Alice’s encounter with them all most enjoyable.
As was the Caterpillar meeting, with Anna Guryeva perfectly portrayed. I liked the associated choreography with the hand imitating the many feet and not quite being all together but in competition. Spoilers: so, I will say no more except it was so well thought out. As were the walking steps of the cards, the Gryphon and Mock Turtle interpretations by Ruby Parmenter and Clara Harrison. The Cheshire Cat was not given much script time, but I liked the way the luminous grin appeared and disappeared, and the languid way Daniel Davies placed himself around the stage and purring himself into those “mad” lines.
Two very different queens in Glass with regal touches as White and Red, Talia McFaull and Amy Black, and Robin Graham as a very underplayed and calm Duchess with Andra Avadanei and Tamoghna Chakroborty giving spirited support in their roles complimented this mainly ensemble piece.
Lighting and sound were the usual high standard and the enthusiasm of all concerned shone through from interactions afterwards with the talented crew at the side and back and front of house who always make me feel very welcome and appreciated.
It is so good to see so many people assisting and creating live theatre.
