But the winning touch in this production is Jonathon Oxlade’s wittily thrifty design. Using a simple stage set of polished concrete, dressed in signature post-apocalyptic pastels, he then expands in the third act with ramshackle candelabra, chorus masks of black goggles and moulded cloth, and costumes from Gotterdammerung and Flash Gordon. It goes very near the brink. But he knows just when to stop.



The production's commitment to weirdness (props to designer Jonathon Oxlade), the sparkling performances of the cast, and, not least, by Washburn's cockeyed optimism.



Jonathon Oxlade is worthy of an extra special mention: not only does he puppeteer the Cricket, the glowing moral compass of the play, he designed the character, as well as everything else, including the rotating stage, that easily and quickly transports us from scene to scene, the mainstay of which is an emblematic tree trunk which, with clever manipulation, becomes a ship’s bow, a desert island, a slave-trading factory where children are turned into donkeys, and so on. 



Jonathon Oxlade’s sets, which have become a staple of Windmill Theatre performances, were wonderful. PINOCCHIO


From set design to the soundtrack, there’s barely a dropped ball to be found from cast to crew.