ALICE IN WONDERLAND

Marylebone Theatre

★★★

“a visually striking, fantastically acted, fun family show”

Lewis Carroll’s Alice in Wonderland is a classic and this adaptation, written by Penny Farrow and produced by Ethan Walker, Nate Bertone and DEM productions, is a stunning family-friendly take with a grown-up edge, though not without flaws.

On a sleepy afternoon, Alice follows a waistcoated white rabbit into Wonderland. She meets many colourful characters (literally and figuratively), and navigates a maze of nonsensical rules until, emboldened by confidence and frustration, Alice finally takes a stand.

Aimed at a younger audience, Farrow’s writing distils the more iconic moments and cuts others (such as the pig baby). This brings out a coming-of-age story of sorts, highlighting Alice’s transition from ingénue to self-possessed young adult, underscored by delaying Alice’s re-enlargement to later in the plot. Perhaps Carroll wouldn’t have approved, as I understand he helped end didacticism in children’s literature; but I find it more satisfying and meaningful. Farrow hasn’t forgotten about the adults either, weaving in a layer of modern parody which I think Carroll would have approved of. Though the first act could have done with more jokes and silliness to match the pacier and funnier second.

Director Bertone and Associate Director Eva Sampson lean into the more magical moments, bringing them to life without special effects. For example, Alice’s shrinking uses expertly timed sound and movement plus enlarging props. Though the stand-out is the puppets, designed by Bertone and Chris Barlow, which bring the real magic. This elevates what is already a visual feast – the second you walk in, you see the stunning Wonderland set. Designer Bertone, Associate Designers Will Fricker and Christian Fleming, and Assistant Set Designer Mauri Smith realise a fantastical space, with playing cards suspended above you as if whizzing about. The stage transforms delightfully with each scene, most impressively into the Queen of Hearts’ garden complete with throne and more in jokes (Queen, you did indeed slay). Not to mention Zoe Burt’s sumptuous costumes, including Alice’s embroidered blue and white dress referencing key plot points. Hair and make-up extend the magic, with a range of contrasting styles from Tabitha Mei-Bo Li. Lighting designer Jack Weir expertly evokes the right mood at the right time, from mysterious to matter of fact to menacing. Evan Jolly’s composition seamlessly complements the action. Ella Wahlström’s sound design perfectly punctuates certain moments too, such as the hedgehogs’ whacks during flamingo croquet and their subsequent plaintive cries.

The cast are fantastic. Charlotte Bradley is completely immersed in her Alice and executes physicality with precision. Katriona Brown and Skye Hallam as Tweedles Dum and Dee are hilarious, nailing the comic timing. Daniel Page’s (drag) Queen of Hearts is brilliant, camping up the character without losing an ounce of malice. Eddie Ahrens’ Cheshire Cat is a movement masterclass, with skilful characterisation and choreography. Clare Brice’s White Rabbit pulls off acrobatics while maintaining a nervous edge. Sean Garratt’s Caterpillar is elusive, but it’s Garratt’s Dormouse who steals my heart with his endearing characterisation and reactions. Honey Gabriel’s Hatter and Matthew Heywood’s Hare bring madness and joy to the party.

A few things are less successful. As well as the first act being slower, the pacing is a little inconsistent, spending a long time on Alice’s shrinking and crying. The narrative climax lacks punch: during the pivotal moment involving a deck of cards, said deck appears… and then sways about, evoking a convenient scene change rather than a threatening moment. With what looks like two downstage microphones and no headsets, the dialogue is harder to make out upstage and sometimes drowned out by music (or children). Given this version is abridged with some rather wordy passages, it impacts the flow and loses you at points.

That said, if you’re looking for a visually striking, fantastically acted, fun family show that children and adults will get something out of, Alice in Wonderland is a treat. Though if you’re not bringing children, it might not be for you.

ALICE IN WONDERLAND

Marylebone Theatre

Reviewed on 20th July 2025

by Hannah Bothelton

Photography by Steve Gregson

Previously reviewed at this venue:

FAYGELE | ★★★★★ | May 2025

WHITE ROSE | ★★ | March 2025

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK | ★★★★ | October 2024

THE GOVERNMENT INSPECTOR | ★★★★ | May 2024

THE DREAM OF A RIDICULOUS MAN | ★★★★ | March 2024

A SHERLOCK CAROL | ★★★★ | November 2023

THE DRY HOUSE | ★★½ | April 2023

ALICE IN WONDERLAND

★★★

“a valiant new work with potential and moments of real pleasure”

Barista The Musical is a new, original production that deserves recognition simply for not being based on an existing format or film franchise. In a time when much of musical theatre leans on familiar franchises, this fresh work is a bold effort. While it doesn’t always hit the mark, there’s enough here to applaud.

The show opens with a dramatic gut-punch as Isabella (Sara Bartos) leaves Colombia to study in London, seen off by her protective brother, Luis (Daniel Lobo). It’s 2006, and though Luis insists this is for her own good, an undercurrent of danger lingers. A flashback to 20 years earlier reveals their father (Marc Serratosa) being murdered by his business partner, Matias (Jay Faisca), followed by an implied rape of their mother, Maria (Charlotte Shalkey). This emotionally charged opening is unexpected, given the lighter tone suggested by the show’s marketing.

Scene 3 introduces us to Scott’s Café, an independent London coffee shop around which the plot revolves. In the effective montage number Want a Coffee, we witness the passing of time from 2006 to 2009. Through brief snapshots, we observe a pregnant woman who progresses to having more children, a man who starts with two dogs and ends with one, and other locals whose lives subtly evolve. It’s a clever, engaging sequence that showcases the versatile six-person ensemble and gives us a sense of the broader community.

However, the lead characters lack the same connection. Andy (George Crawford), the café owner, is in a romantic relationship with Isabella, who works at the café while studying at university, but there’s little chemistry between them. It’s hard to understand what Isabella, the central focus, sees in him, and their relationship feels underdeveloped, weakening the story’s emotional core.

Musically, the show has poignant moments. Andy’s solo Proud of Me reflects on his childhood and his grandfather, from whom he inherited the café, while Isabella’s Stronger, the Act 1 finale, delivers a powerful moment of resolve. Sara Bartos carries the emotional heft of the show and is an engaging stage presence, particularly in the Spanish-language song La Única Manera, where her emotions are deeply felt despite the language barrier. George Crawford brings charm to his role, though his character feels less fleshed out.

On the lighter side, the comedic numbers shine. No Chance, where bankers reject Andy’s loan request, is a satirical highlight that sets the stage for a shady business deal threatening both his relationship with Isabella and his café. Another standout is Smoothie Man, performed by Sue (a comedic force and guardian-angel-like figure played to perfection by Colleen Daley), who brings the house down with witty double entendres like “squeeze me, zest me, juice me,” while being lifted, spun, and twirled by a trio of men in gold lamé. Sue’s banter, complete with her obsession with Zumba and references to Liam Neeson’s “particular set of skills,” firmly roots us in 2009.

The choreography, by Strictly Come Dancing’s Pasha Kovalev, shines particularly in the comedic numbers and later in the second half when the action returns to Colombia. The Latin American rhythms and a sultry tango sequence add vibrant energy, contrasting with the earlier scenes in London.

There’s a lot percolating in Barista The Musical—perhaps too much. With book, music, and lyrics by Nigel and Anna Newman, several plot threads are introduced but left unresolved. Still, director Sarah Redmond keeps things engaging, with the action moving briskly enough to hold attention even when clarity falters.

In the end, Barista The Musical is a valiant new work with potential and moments of real pleasure. It’s not a perfect cuppa, but in a theatre landscape dominated by adaptations, it makes for an engaging night out.

Tag Archives: Jack Weir

ALICE IN WONDERLAND

★★★

Marylebone Theatre

ALICE IN WONDERLAND

Marylebone Theatre

★★★

“a visually striking, fantastically acted, fun family show”