The moment Captain Chatter’s eyebrows performed their caterpillar-like dance, I knew Wonder Boy was going to be a memorable experience. This is a play that doesn’t just tell a story, it invites you into the inner world of Sonny, a boy with a stammer, and does so with sensitivity, intelligence, and a great deal of heart.

The plot takes us through Sonny’s emotional journey, from the isolation and frustration he feels in his day-to-day life to his search for acceptance and self-expression. His stammer is portrayed not just as a communication barrier but as a symbol of his struggle to be understood in a world that doesn’t always have the patience to listen. The use of Captain Chatter, performed by Ciaran O’Breen, is a character who acts almost like Sonny’s alter ego, allowing the audience to see the gap between what Sonny wants to say and what he feels capable of expressing.

The performances were finely tuned, with each actor bringing a grounded truth to their roles. Sonny, played by Hilson Agbangbe was beautifully portrayed, capturing both the vulnerability and strength of his character. But it was Eva Scott, as Wainwright, who stood out most. Her performance as the teacher who forms a deep connection with Sonny was heartfelt and fully realised, bringing emotional depth and resonance to the production, making Wainwright a truly relatable and essential character.
The technical aspects of the play were equally impressive. Ross Willis’s writing was sharp and thoughtful, and the way Tom Newell integrated the live captioning into the performance felt revolutionary. Each character’s captions were displayed with carefully selected fonts that mirrored their personalities, creating a seamless blend of visual and spoken storytelling. The captioning wasn’t just an accessibility feature, it was an artistic device that elevated the production, offering an immersive experience for all audiences.

Katie Sykes’ set design deserves special mention as well. The stage felt like an extension of Sonny’s mind, vivid, imaginative, and slightly chaotic, but always grounded in the reality of his daily life. The set was functional yet expressive, drawing us deeper into the protagonist’s world and mirroring his emotional journey.

Sally Cookson’s direction was, as expected, outstanding. She managed to handle the delicate subject matter with care while maintaining the boldness of the production’s visual elements. Cookson struck the perfect balance between allowing the actors’ performances to shine and using creative staging to enhance the narrative. The result was a production that felt both intimate and grand in its emotional scope.

What makes Wonder Boy truly exceptional is its commitment to accessibility, not just as a necessity but as a vital part of the storytelling. The captioning wasn’t just a helpful tool, it was woven into the fabric of the performance, enriching the experience and offering a glimpse of what theatre can achieve when accessibility is a fundamental consideration.

Ultimately, Wonder Boy is far more than just a story about a boy with a stammer. It’s an exploration of communication, self-acceptance, and the struggle to be heard. This play sets a high bar for inclusive theatre, reminding us of the power of storytelling to bridge gaps in understanding and offer profound emotional insight. A must-see for anyone who values thoughtful, innovative theatre, Wonder Boy is a triumph in every sense of the word.

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Jack Maurice