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Wanstead Fringe
A clever and engaging exploration of sibling dynamics and identity that delivers strong performances and thought-provoking moments.Summary
Rating
Good
They say, ‘Life imitates art,’ but what if your brother’s success as a cartoonist directly impacts your own identity? That’s the dilemma explored in The Strangelmans, brought to us by Day Job Theatre as part of the Wanstead Fringe.
It’s an interesting premise, and the acting is thoughtful and well-considered. The sibling dynamic between Andrew Atha, Alexandra Scott, and Michael Stafford Wells (playing Phil, Triss, and Steven Sinnow respectively) is entirely believable — as the eldest brother myself, I can relate. The play effectively captures the tension and love that often exist in sibling relationships, and each actor portrays their character with depth and nuance. Although, I’d better not write too much, otherwise my siblings might accuse me of using them in my writing, which is exactly the issue Phil Sinnow faces.
We follow Phil at the beginning of his journey, creating The Strangelmans comic strip for a newspaper. As the comic grows in popularity, so does the public’s awareness of the characters, whose resemblance to the Sinnow siblings becomes increasingly apparent. This causes friction within the family as they grapple with being portrayed in a way they can’t control. Moments of great pathos and comedy weave through the script, showcasing the strong writing by Andrew Atha, who balances humour with introspection. The addition of Jas Carling (played by Jasmine McHayle), Steven’s girlfriend, adds an intriguing counterpoint to the family dynamic. Her character provides an outsider’s perspective, but ultimately, she too is ‘drawn’ into the family — pun very much intended.
The Strangelmans could easily invite comparisons to another famous cartoon family from Springfield, USA, especially with the clever use of sofas on stage and in the audience. These sofas served to physically draw the audience into the world of the play. With the stage on the same level as the spectators, the sofas create a layered seating arrangement, making those in the first two rows feel part of the performance, almost like they are inside the living rooms of the Sinnow brothers. This device helps to immerse the audience further into the family’s conflicts and heightens the sense of intimacy, making it feel like a very British family drama with a unique setup.
The family have to cope with the complexities of public versus private personas, something many can relate to in the age of social media. Phil’s siblings, Triss, Steven, and even Jas, struggle to reconcile their personal identities with the exaggerated public image projected through the cartoon. This theme of identity manipulation in the public eye adds depth to the play, elevating it beyond a simple family drama.
One of the production’s strengths is its creative use of set and lighting. The moments when we see each character in situations outside the flat are framed separately using lighting and a cardboard caption, creating the illusion of cartoon panels coming to life. This device is effective in highlighting the divide between the characters’ real and cartoon selves. It would be interesting if more of these cartoon-like features were to be incorporated as the play progresses, particularly in the final scenes, where the theme of reality versus comic fantasy peaks.
The play is largely successful in its exploration of family dynamics and identity. The cast deliver strong performances, with each actor fully embodying their character. However, the end scene, when the family physically transform into their comic alter-egos, doesn’t quite hit the right tone. It feels too grounded and naturalistic. If there was some way to heighten the cartoonish nature of the characters at this moment — perhaps through more exaggerated physicality or costume — it would give the climax of the play a greater sense of impact and help the story land more powerfully.
The Strangelmans is well-drawn and effectively written, with moments of light and shade that bring the characters and their conflicts to life. However, it needs a few further pops of colour, particularly in its final moments.
Directed by: Fiona Winning
Technical Stage Management by: Beckett Gray
Produced by: Julia Blomberg for Day Job Theatre
The Strangelmans has finished its run at the Wanstead Fringe but it will be performed again in the Lambeth Fringe at The Bread and Roses Theatre on Sunday 22nd September. Further information and booking are available here.
