ALICE IN WONDERLAND

Theatre Peckham

★★★

“brimming with energy, colour, music and dance”

Theatre Peckham’s ‘Alice In Wonderland’ delivers a spirited, modern spin on Lewis Carroll’s classic, brimming with festive family fun. True to the company’s mission, the production showcases local young talent, offering a lively, inclusive show that makes for a great family outing this Christmas.

Like most kids, Alice is glued to her phone – until Snowy B drags her down a rabbit hole she can’t just Google her way out of. A festive tale of wit and problem solving, will she outsmart Wonderland and make it home in time for Christmas?

Geoff Aymer’s exuberant script offers a modern spin on Carroll’s classic, exploring technology’s influence on children while encouraging self reliance and problem solving. Inventive touches add richness – from a chess savvy, catwalk stomping Queen of Hearts, to the charming ‘Chesh’ the cat – and varied audience participation creates a panto feel. The dialogue, infused with Multicultural London English and code-switching, is sharp and funny. That said, the plot largely mirrors the original, avoiding bolder departures, and some additions, such as Van Goo and the singing forest sequence, feel less essential.

With director Dr Suzann McLean MBE, Theatre Peckham’s Artistic Director, and assistant director Joe Bernstein at the helm, the production champions accessibility and representation with an ensemble of local talent. Creative staging, high energy choreography, vibrant music, and frequent audience participation create a party atmosphere, while varied use of the ensemble allows individuals to shine. That said, the nearly 20 strong cast occasionally feels cramped and the pacing dips towards the end, but overall it’s full of vitality and drive.

Jordan Xavier’s vibrant score, with musical direction by Ben Christopher, weaves in reggae, soul, gospel and more, keeping the audience clapping and bopping throughout. Infectious rhythms and standout numbers – including Ignatius’ gospel infused anthem and the Hatter’s exuberant Tea Jam – showcase musical flair. Paired with Aymer’s witty lyrics, the contemporary sound lands effortlessly.

Shakeil Edwards’ movement direction is contemporary and fun, prioritising accessibility over complexity for the young ensemble. However, standout hip hop solos and rousing group numbers – especially the Hatter’s Tea Jam – provide real highlights. The execution could be sharper, but the result remains spirited and engaging.

The set design is striking and versatile, with the checkerboard floor gaining meaning as the story unfolds. Archways and silver screens inventively create levels and movement, especially in Act 2, though more roses for speedy Van Van would heighten the visual impact. Sasha Howe’s sound design makes playful use of well timed effects, adding humour and texture. Sometimes the mix overpowers the cast, with lyrics lost in faster or ensemble sections, and occasional missed mic cues leave some lines unheard. Jahmiko Marshall’s colourful lighting design adds spark, though the blackouts at the end of each finale number are a little puzzling. The costume design is striking: the Queen’s red ensemble has the flair of a catwalk piece, while Guru Carter’s blue velvet sleeves and bubble sax add a quirky touch.

Oscar Sinclair impresses as the Queen of Hearts and other roles, offering strong characterisations, magnetic stage presence and fabulous vocals. Felicity Ison brings charm to Snowy B and other roles, elevating the material with assured versatility and an expressive singing voice. Siphiwo Mahlentle brings charisma to Chesh and other roles, delivering engaging performances and smooth vocals. Carma Hylton as Alice radiates warmth and presence, with promise in both singing and rapping, though working on breath-supported projection would allow more nuance. The Team Cerasee ensemble is endearing and energetic. Standout contributions come from Alexander Joseph’s larger than life Hatter, Theo Esson’s impressive dancing, and Flo Swann’s expressive singing.

Theatre Peckham’s ‘Alice In Wonderland’ is a joyful celebration of South London’s diversity and heritage, brimming with energy, colour, music and dance. A charming piece of community theatre, it promises fun for the whole family this Christmas.

ALICE IN WONDERLAND

Theatre Peckham

Reviewed on 9th December 2025

by Hannah Bothelton

Photography by Ahmed Kamara

Most recently reviewed at this venue:

DO YOU WANT SOMETHING TO CRY FOR | ★★★½ | May 2025

RAPUNZEL | ★★★ | December 2023

ALICE IN WONDERLAND

★★★

“As a vehicle for the youth theatre to show their chops, Rapunzel is a very charming production”

Theatre Peckham sits just a stone’s throw from the thoroughfare of Rye Lane, with its bustling array of salt fish sellers, street-preachers and salon owners. Their Christmas show this year, Rapunzel, seeks to bring that vibrant atmosphere to life in an original take on the fairytale.

Under the direction of Suzann McLean, also artistic director of the theatre, Rapunzel is a world famous hair-dresser at vibrantly pink and glitzy Peckham salon Barnet Magic – but things were not always so. When she was just a baby her mother’s jealous cousin Cassie secretly kidnapped her, to use as ransom for an inheritance Cassie was denied. Locked in a tower for 18 years, Rapunzel is none the wiser as Cassie profits from her niece’s hairstyling prowess and continues to disadvantage Rapunzel’s mother Maddy.

It’s an overly long and convoluted plot with jumps in time necessitated by the involvement of a large youth company, outnumbering the adult cast more than three to one. One or two of the young cast surely have a future on the stage, full of energy and goofy charm and clearly having the time of their lives. Jazz Deer-Olafa’s choreography is engaging yet simple enough for everyone to be involved. There are even opportunities for some of the most unassuming cast members to have their moment in the spotlight and it is heartening to see the passion that has gone into the work of the show.

The adult performers are a bit of a mixed bag. Scarlet Gabriel as Maddy and Kellah-M Spring as Rapunzel come across as rather flat and low energy. At the other end of the scale, Jade Leanne Benjamin as the evil Cassie is over the top, particularly in the way she constantly adjusts her various wigs. Montel Douglas provides some light relief as both a distracted detective and Rapunzel’s saviour, Dignity Jones. But Marcus Ayton as Mama Bea is standout with his lilting Caribbean accent and aphorisms on point.

Original musical numbers by composer Jordan Xavier and lyricist Geoff Aymer do well to use elements of pop, R&B and afro-beats to reflect and appeal to the largely local audience. The lead performers seem to have a hard time hearing themselves over the music and there are some weak refrains that are repeated ad nauseum. It also feels like there is a missed opportunity in bringing out the ‘rap’ in Rapunzel more strongly.

As a vehicle for the youth theatre to show their chops, Rapunzel is a very charming production. It has community appeal in its hyper local setting and plot of triumph over adversity. Viewed through this lens, there’s plenty to come away from the show smiling about.

Tag Archives: Suzann McLean

ALICE IN WONDERLAND

★★★

Theatre Peckham

ALICE IN WONDERLAND

Theatre Peckham

★★★

“brimming with energy, colour, music and dance”