Review: A WORLD ELSEWHERE, Shakespeare’s Globe

Following the Olivier Award nominated success of Rough Magic, Shakespeare’s Globe and Splendid Productions once again demonstrate an extraordinary understanding of family theatre with A World Elsewhere, an imaginative, heartfelt and utterly captivating production which celebrates the limitless power of creativity. Directed by Lucy Cuthbertson and written by Kerry Frampton and Ben Hales, this is not simply a show for children. It is a joyous reminder for audiences of all ages of the importance of imagination, storytelling and embracing the worlds we create.

The experience begins well before the official start of the performance. Arriving ten minutes early after completing the online character quiz, audiences are immediately welcomed into Cass’s imaginative universe. Those precious opening moments prove to be worth their weight in gold as Cobweb and Sarah play an energetic game of hide and seek with Big Guy while considering whether villains’, sidekicks or heroes are more appealing. Audience members are asked whether they are Cass’s imaginary friends, before enthusiastically joining a wonderfully inventive series of activities which effortlessly establish complete investment in the story.

Using a rhythmic gymnastics ribbon renamed hysterically as “the Ribbon of Expression”, a volunteer illustrates emotions ranging from sorrow to joy, whilst others are invited to create dramatic poses before helping redesign a scarf as a superhero cape. A spirited game of “Yes, and” soon develops into an increasingly absurd shared adventure involving dinosaurs, food poisoning and murderous intentions, all whilst the hide and seek continues around the theatre. Within seconds the audience has become entirely invested. The sheer energy, creativity and confidence displayed by the company creates a remarkable level of engagement, which serves as a masterclass in audience participation and storytelling.

Designer Rose Revitt transforms the intimate Sam Wanamaker Playhouse into a place constructed entirely from stories. The stage is adorned with envelopes, each appearing to contain another adventure waiting to be discovered, immediately inviting audiences to imagine endless possibilities. It provides the perfect backdrop for a production which constantly encourages participation, without ever making anyone feel uncomfortable.

The audience is introduced to Cobweb from A Midsummer Night’s Dream, the wonderfully enthusiastic Big Guy and Sarah, a delightfully theatrical guide through Shakespeare’s world. From the outset, reassurance is offered that there are no doors, only curtains, immediately creating an atmosphere where participation feels natural rather than intimidating. Whether transforming into waves, jelly, chickens or witches, every audience member becomes an essential part of Cass’s story.

The production delights in exploring surreal imagination. Tales of Big Guy becoming an octopus during Lady Macbeth’s jam tea party, heroic fairy adventures and outrageous battles are brought vividly to life through energetic choreographed fight sequences. Alongside the laughter, there is a subtle introduction advocating for why danger is necessary within stories and how challenges help characters grow. Imaginary laser battles, plasma balls and far-fetched adventures, become exciting vehicles for exploring far deeper emotional themes.

Kyle Ndukuba delivers an outstanding performance as Cass. Initially introduced as a once imaginative child approaching adolescence, Cass has begun rejecting the imaginary friends who have defined his childhood. His growing embarrassment and desire to leave fantasy behind, creates genuine emotional weight, particularly as his decision has devastating consequences for the companions who have loved and protected him.

What follows is a thrilling adventure into the Shadowlands, where Cass must rediscover the value of imagination in order to rescue his friends from conformity and emotional emptiness. The production cleverly demonstrates that a life without creativity quickly becomes bland, jarring and colourless. As the adventure unfolds through exhilarating storytelling, inventive physical theatre and memorable musical moments including the wonderfully infectious “Something’s Gonna Happen” song, audiences are reminded that embracing curiosity, chaos and individuality is one of life’s greatest strengths.

The performances throughout are exceptional. Kerry Frampton, Tanvi Virmani and Zachary Willis each create instantly lovable characters bursting with warmth, humour and boundless energy, working together remarkably. Every interaction feels spontaneous, every moment of audience participation genuinely meaningful, and every emotional beat lands with complete sincerity.

Few productions understand children as completely as A World Elsewhere. The play celebrates creativity, whilst gently reminding adults not to lose sight of their own inner child. It is particularly resonant for children approaching adolescence, who may begin questioning the value of imaginative play just as Cass does, but its themes resonate equally powerfully with older audiences.

This is family theatre of the very highest calibre. Rich with imagination, heart, humour and theatrical invention, A World Elsewhere stands amongst the finest children’s productions currently on the London stage. Shakespeare’s Globe and Splendid Productions have created theatre which is genuinely magical, uplifting, buoyant and awe inspiring. A World Elsewhere is nothing short of exquisite and I'd frankly give it a million stars out of 10.

A World Elsewhere runs at Sam Wanamaker Playhouse, Shakespeare’s Globe until 30 August 2026.

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