ALICE IN WONDERLAND

Kew Gardens

★★★

“inventive, energetic and gives the kids an extremely good time”

If you ever considered crossing Lewis Carroll’s Alice in Wonderland with The Wiggles, look no further. This immersive, open-air production by the Australian Shakespeare Company for Theatre on Kew is an entertaining and accessible pantomime-esque take that children will love. Though it doesn’t offer as much to adults.

We start in Wonderland. After the Knave of Hearts leads a rousing warm up, the birds burst into the audience, followed by the incredibly late White Rabbit and ‘Bill the Lizard’. (I googled Bill, he does indeed feature in the book.) Bill brings us up to speed before Alice crash lands, having already arrived and cried offstage. While Rabbit and Bill are distracted, Alice sneaks a sip from a curiously labelled bottle and grows so big she bursts out of Rabbit’s house. Luckily she shrinks again and goes on to meet all the iconic characters, play croquet and stand up to the Queen, while engaging in energetic games and songs.

This adaptation by Glenn Elston turns the key story beats into an inventive and digestible format for children of all ages. We’re part of Wonderland from the get-go, whizzing between characters, songs and games. Though the real treat is the croquet game which provides lots of laughs. Although this is a children’s show, there are nods to the adults in the ‘room’, such as comparing the Duchess’ hot soup to Timothy Chalamet and referencing Oasis during a song.

Directed by Elston and Remount Director Dennis Manahan, the highlight of this production is the audience participation. There is no fourth wall, with all dialogue out the audience, characters running through the sea of picnic blankets, games throughout, and dance moves the kids can follow. It makes great use of space and timing, often demonstrating split second timing from cast members who can’t see each other.

Paul Norton’s original score is a big part of this production. The catchy nursery-rhyme-esque songs add extra energy to key moments and characters. The Mad Hatter’s ‘I’m Mad’ song is a genuine earworm. Though they don’t all land. The White Rabbit’s late song goes on a tad too long, and the Tweedles’ Dum and Dee song’s repetitive call and response structure gets old quickly.

Sue-Ellen Shook’s choreography shows range and uses clear movements the kids can follow. Though it could be more cleanly executed by the cast at points.

The high energy cast do a fab job of bringing the energy while singing, dancing and acting multiple roles. There is expert improvving from Rupert Sadler’s Mad Hatter, whose ‘I’m Mad’ song and dance number is a hit in every sense. Alice Imelda’s Queen is another standout, adding nuance and singing beautifully. The Mad Tea Party scene is so slick that Sadler, Laura Bazely (Dormouse) and Tom Whalley (March Hare) never miss a beat despite speaking (and reacting) largely in unison.

At first glance, the set design seems fairly basic though it comes to life very effectively. The costumes do the job, with the Queen sporting an impressively huge red ballgown. Make up wise, there is liberal use of face paint though it does give the non-human characters an otherworldly look. Sound design is effectively executed, punctuating key moments with extra magic.

That said, there are several elements that work less well. Firstly, the lack of plot. I know, I know, it’s nonsense literature. But because we hit every major character with new songs and games, the already thin plot is lost. The references for the adults feel few and far between, standing out rather than feeling cohesive, and lacking a clear sense of humour. The momentum stalls at the Mad Tea Party during competing renditions of ‘Twinkle, Twinkle little star/bat’, which have me scratching my head.

This production of Alice in Wonderland is very much for children who I suspect will give it five stars. It’s not the flashiest or most faithful production you’ll ever see, but it is inventive, energetic and gives the kids an extremely good time. What better way to spend a golden afternoon?

ALICE IN WONDERLAND

Kew Gardens

Reviewed on 25th July 2025

by Hannah Bothelton

Photography by Zac Cooke and Nicole Cleary

Previously reviewed by Hannah:

HAPPY ENDING | ★★★★ | RIVERSIDE STUDIOS | July 2025

GENTLEMEN OF THE JURY | ★★★★★ | CAMBRIDGE GUILDHALL | June 2025

ALICE IN WONDERLAND

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

There is a moment in the second act of “Shout! The Mod Musical” when the ensemble cast come together for a rendition of Mary Hopkin’s ‘Those Were the Days’. Shrouded in poignancy, it is quite a moving moment. A mid-tempo number reflecting mid-life melancholy. The only problem, however, is that we are wondering what those days were. There is very little to look back on, such is the shallowness of Phillip George and Davis Lowenstein’s book. Mind you, there’s little room for one amidst the relentless procession of sixties hit songs. More of a musical revue than a musical. And, viewed as such, it is, in fact, multi-coloured, musical magic. The five performers burst with a kind of tutti-frutti charisma, sharing out the songs between them like kids in a candy store, or an eat-all-you-can buffet of mouth-watering harmonies.

We’re in the swinging sixties, with set and costume (uncredited) that place us in something resembling an early Top of the Pops studio. Along with James Davies’ wig and hair design, the authenticity of the period is fully created, aided further by musical director Gabrielle Ball’s no-frills, sample-free, three-piece band. The girls (we can call them that – it is the sixties) all possess an abundance of energy and singing talent that drives the show at speed through the overflowing repertoire. We are in a living jukebox, where the music is interrupted by a series of short, rather lame, comedy sketches. The premise is intriguing though. Throughout the story, the five characters send letters to Gwendolyn Holmes (voiced by Pippa Winslow), an agony aunt who works for the fictitious style magazine ‘Shout!’. They are invariably disappointed by the useless advice they are given to deal with their situations (for ‘situations’ read ‘love life’). They are nameless, identified only by the colour that they wear. Red Girl (Isabella Mason) is the ingenue of the group who has self-image issues while Orange Girl (Lauren Bimson) is the matriarchal figure struggling to cope with a philandering husband. Yellow Girl (Gabrielle Cummins) has come from across the pond, laden with her cargo of self-confidence and romantic memories. Green Girl (Lauren Allan) is the sex maniac (we can say that – it is the sixties), uninhibited, racy and full of seaside town postcard humour. Blue Girl (Madeleine Doody) is the sophisticate; well-heeled and gorgeous – and she knows it, although we later learn that there is something quite specific that she is unsure of.

A rainbow of colourful characters with whom we are able to have tremendous fun, even if there is no pot of gold at the end. There is little in the way of an arc too, so director Joseph Hodges, with choreographer Jay Gardner, rightly focus on the songs, creating a seamless medley of delight and joy. The likes of Burt Bacharach, Tony Hatch, Sandie Shaw, Neil Sedaka – and many others – are all showcased. Even John Barry, during a lovely Bond pastiche where ‘Goldfinger’ is renamed ‘Coldfinger’. True to its ensemble nature, none of the cast outshine each other, yet they all shine individually and collectively. The chemistry is there but unfortunately the script prohibits any real onstage connection. But the singers easily bypass such quibbles with their strong connection to the audience.

Yes, this show is dated. That is the whole point. At one point a rather clumsy and incongruous use of placards attempts to shoehorn in a hint of twenty-first century credo, but the show doesn’t necessarily need it. This is a musical comedy, and the irony should speak for itself. What is clear, though, is that the music not only speaks for itself. It Shouts! So go ‘Downtown’ and forget all your troubles, forget all your cares. If nothing else, it will make you feel ‘aaaaalllllright!’

ALICE IN WONDERLAND

Kew Gardens

★★★

“inventive, energetic and gives the kids an extremely good time”

ALICE IN WONDERLAND

Kew Gardens

Reviewed on 25th July 2025

by Hannah Bothelton

Photography by Zac Cooke and Nicole Cleary

Previously reviewed by Hannah:

ALICE IN WONDERLAND

ALICE IN WONDERLAND

ALICE IN WONDERLAND

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

Reviewed on 27th June 2025

by Jonathan Evans

Photography by Zac Cooke

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