Review: Alice In Wonderland (Riverside Studios)
- All That Dazzles
- Jul 22
- 4 min read
Review by Oliver Briggs
⭐️⭐️⭐️⭐️
Following a critically acclaimed run earlier this year and a run at Marylebone Theatre last summer, Alice in Wonderland returns to Riverside Studios in the most whimsical fashion. With DEM productions sparing no expense when it comes to creating the world first discovered through Lewis Carroll’s timeless story, it really is no wonder it keeps coming back.
Adapted for the stage by playwright Penny Farrow, this production of Alice in Wonderland has stayed true to Lewis Carroll’s book whilst weaving in sneaky pop culture references that bring the story into the 21st century, making it a nostalgic reminder of a beloved book by many and a blast for the younger audiences. I thoroughly enjoyed the writing as the story, as chaotic as it can be, was easily digestible and a good laugh with pantomimic jokes that often involved quick wordplay.
The direction of the performance was of a very high quality, with a team of three at the helm of this task. Those being Nate Bertone as the director, Eva Sampson as co-director and movement director, and Katriona Browne as Puppet Director. This trio was able to create many picturesque moments as though the cast were merely moving from one photo to another. A few moments that stuck out to me were Alice interacting with the flowers, the way Alice falls down the rabbit hole, and the pool of tears because of the real creativity and how comical these scenes were. Unfortunately for me, despite the photo-perfection of the performance, there were a few sections of the performance that felt slow and somewhat choppy in pace - mainly in the middle around the tea party scenes; however, it does pick up again very quickly.
The cast is composed of 9 brilliant performers. Ailsa Erskine as Alice, Clare Brice trying to keep time as the White Rabbit, Honey Gabriel under the hat as Hatter, Sean Garratt doubling up as Caterpillar and Dormouse with Tom Giles delivering an exciting performance as the Hare. My standout performances were Sophie Wilkinson and Skye Hallam, who delivered comic characterisations of Tweedle Dum and Tweedle Dee. Smiling through the performance was Lucinda Davidson as the Cheshire Cat, and Daniel Page truly executed his performance as the Queen of Hearts, in another standout performance for me. Each cast member also has a role as an ensemble member to create and bring to life the beautiful vision of the directors, which makes for a constantly busy story where most are onstage for a lot of time. The reason Sophie Wilkinson, Skye Hallam, and Daniel Page stood out to me so much is that they appeared the most explorative in the cast; they were not afraid to go further and make mockeries of themselves in the name of entertainment. The scenes that involved Tweedle Dum and Dee or the Queen were undoubtedly the best.
The rabbit hole set proved particularly exciting with the show’s designer, Nate Bertone, doing a remarkable job that quite literally lets audiences have a peek down the rabbit hole. Though I didn't see it at first with how the set had been dressed to appear as a garden with a few trees, once I saw the sides that inched closer and closer into a circle at the back of the stage, it clicked. The reason I loved it so much was that it doesn't detract any attention from any scene and, despite being the whole set, feels like a hidden gem of the production. It especially makes sense when you see the larger-than-life teacup, stopwatch, teapot, and book that appear as though they too are falling down this hole. In fact, I believe it’s possible to spiral into a rabbit hole about the design of the rabbit hole because some of the choices and how they are put together are just brilliant. All of that is before I even mention the brilliantly crafted on-stage furniture items that help build the scenes and pictures like the enchanted-looking mushrooms, the table and how it’s sort-of uncannily set for a tea party, and the bushes that make up the garden of the Queen of Hearts.
Sam Rapley composed magical underscores for this performance, with each number adding a level of whimsy and a sort of joy beneath each scene. The music, along with sound design by Ella Wahlström, created an atmosphere that filled the theatre, particularly during scenes where the talking was minimal allowing the song and sound to move the story along and provide the emotions of different characters. This was particularly present during Alice’s interaction with the flowers and during the confrontation with the Queen of Hearts. One of the more notable atmospheres, however, was created pre-show, so simple with the use of quietly chirping birds, the audience entered into an auditorium that felt like it could have been open air.
Alice in Wonderland is an amazing piece of family-friendly, panto-esque theatre that is perfect for everybody to enjoy with a classic storyline and a magnificent design accompanied by a truly brilliant score making for a production that can only be described as wonderful.
Fall down the rabbit hole at Riverside Studios until 2nd August. You can then catch it at Soho Theatre Walthamstow from 5th - 16th August.
Photos by Steve Gregson