Alice in Wonderland at Marylebone Theatre
Among classic children’s stories, Lewis Carroll’s Alice’s Adventures in Wonderland is an obvious oddity. Whether a subtle exploration of selfhood or just a madcap misadventure down a rabbit hole, Carroll’s narrative scenes seem destined for theatrical interpretation. Adapted faithfully by writer Penny Farrow and brought vividly to the stage by director-designer Nate Bertone, the Marylebone Theatre’s Alice in Wonderland is a visually sumptuous, family-friendly treat.
As a “timeless classic”, the tale only needs brief re-telling: Alice (played whiny but sweet by Charlotte Bradley) follows a White Rabbit (an almost acrobatic Clare Brice) into the weird Wonderland to meet a cast of crazed denizens. Bertone’s set design evokes the classic iconography the minute the audience step into the space. It is a swirling spectacle of playing cards, teacups, mushrooms and pocket watches held in suspended animation and beautifully lit by Jack Weir. Enhanced by Zoe Burt’s eccentric costumes and the delightfully designed puppets from Bertone and Chris Barlow, the stage’s sheer visual vibrancy never lets the audience’s eyes wander anywhere else.
However, despite excellent early scenes – Alice’s famous shrinking evoked through an ever-expanding size of prop bottles – the script and performances slump as it enters the play’s muddled middle. Poor sound and scrappily delivered ensemble dialogue don’t help iconic moments like the Mad Hatter’s Tea Party. Unfortunately, Honey Gabriel’s Hatter, Matthew Heywood’s Hare and an excellently manipulated Dormouse by Sean Garratt seem to offer both noise and nonsense to tiring effect. Likewise, while Eddie Ahern’s Cheshire Cat head has brilliant glowing eyes and teeth, the cat’s torso doesn’t so much float and disappear as seem bundled up to be swept off. Despite the polish and details of the design, the delivery can lack finesse, especially with the puppetry.
But at the end, it is Daniel Page’s pantomimically villainous Queen of Hearts that not only steals the show but saves it. A towering tour-de-force in crimson, the design and performance seem to leap from artist John Tenniel’s illustrations of the original novel. It’s a veritable crowd-pleaser, raising the energy and humour with each bellow of “OFF WITH THEIR HEADS!” Only Skye Hallam and Katriona Brown’s Tweedle brothers come close with their playful physical comedy and audience interactions.
Judging by the number of still white rabbit ears adorning the children’s heads in the audience, it’s fair to say this production keeps the little ones entranced and, being only an hour, it’s a suitably concise escapade. There are a few modern references in the script to amuse older audience members, but this adventure seems designed primarily for the kids’ approval. For them, Marylebone Theatre’s Alice in Wonderland does succeed in bringing Carroll’s eccentric tale to life for a new generation.
James Humphrey
Photos: Steve Gregson
Alice in Wonderland is at Marylebone Theatre from 12th July until 31st August 2025. For further information or to book, visit the theatre’s website here.
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