The production of 'Alice by Heart' by Queensland College of Dance immerses the audience in a fantastical reinterpretation of Wonderland. This musical adaptation transforms Lewis Carroll's classic tale into a darkly emotional journey, fusing fantasy with the grim realities of World War II. Created by Duncan Sheik and Steven Sater, known for their work on 'Spring Awakening', the narrative follows Alice Spencer as she recounts the tale of 'Alice in Wonderland' off by heart to seek solace from the turmoil of the London Blitz and provide comfort to her gravely ill friend, Alfred.
As the audience enters, the cast is already on stage, busying themselves in the claustrophobic confines of an underground bunker. By having the cast move on and off the stage and through the aisle, the staging brings the entire experience closer to the audience, making you feel as if you’ve stumbled into the bunker and Wonderland right alongside Alice. The stage setup is detailed, making use of all available space - bunks, clotheslines, a quarantined zone, a ladder. A large hole in the back wall serves as a visual portal with projections inside. As the images shift from the war-torn world of 1940 to the swirling vortex of descending down the rabbit hole leading to a Wonderland covered in falling ash, the lines between reality and fantasy becomes increasingly blurred.
An outstanding aspect of this production lies in its immersive quality. Through lighting, sound, choreography, and costume design, spectators are transported from the grimy, harsh reality of a bunker in the London Underground to the enchanting world of Wonderland. During 'Down the Hole,' the costumes subtly change as the characters assume their Wonderland personas. The stunning lighting draws you in at every turn, and when the Blitz’s bombs and sirens echo through the theatre, it feels as if you're hiding in the bunker yourself. Plus, the live music conducted by Ben Murray was so well-executed that I thought it was a recorded track. The show's dialogue stays true to Lewis Carroll's nonsensical, riddle-filled style, but don't worry if you don't catch every meaning—the whimsical madness is meant to be felt, not understood. The show is also notable for its commitment to credible English accents. It is obvious that Tess Hill's choreography is exceptional and deserves to be witnessed firsthand.
Taea Patterson-Fahy, in the role of Alice Spencer (sharing the role with Mabelle Maynard), brings a maturity beyond her years. Taea’s Alice is both whimsical and defiant, and as the story progresses, you sense her desperation to stay in Wonderland, clinging to its madness to keep her connection to Alfred (Ryan Eugarde), who plays the White Rabbit and Alice’s closest friend. Taea's vocal delivery is strong and steady, while her stage presence adeptly captures both Alice’s youthful wonder and her profound fear of loss.
Ryan's portrayal of Alfred and the White Rabbit is highly memorable. His voice, smooth and captivating, carries the sorrow and urgency of a boy racing against time. He balances his playful Wonderland persona with the underlying sadness of his real-world situation. The makeup team deserves a special mention here — his sickly pallor, accented by rouge, makes him look convincingly tubercular.
The ensemble cast is a flurry of characters, with each member pulling double duty as a bunker resident and a Wonderland figure. Kiara Brunker’s Tabatha, who transforms into the Cheshire Cat, stands out especially. She embodies the feline nature as she moves gracefully across the stage, and her performance of 'Those Long Eyes' is gorgeously staged with waltzing couples.
In one of the eeriest songs 'Chillin’ the Regret', the Caterpillars, portrayed by Demi-Ann Klocek and Michaela Aitchison, lure Alice with surreal seduction in a smoke-filled scene that feels both playful and dangerous. Attention to detail has been given to every single aspect of this show, like the caterpillars’ intricate cloaks and hair styles. Every design choice is intentional and adds to the show’s layered interpretation of Lewis Carroll’s world.
Antonia Djordjevic delivers a haunting performance as Dr. Butridge, who transforms into the menacing Jabberwocky. The all-out group number 'Brillig Braelig' becomes quite confrontational as Alice attempts to reach Alfred, with the ensemble preventing her from doing so. It’s moments like these that show the sheer talent of this young cast, able to switch from whimsy to sinister in a moment. The ensemble really captures the organised chaos in these group numbers, including 'Sick to Death of this Alice-ness,' staged during the Mad Hatter’s tea party. Emma Johnstone as the Mad Hatter, Chantelle Turnbull as the Dormouse, and Allie Parsons as the March Hare are a formidable trio, bringing madness and hilarity in equal measure that had me feeling as overwhelmed as Alice herself. The nonsense gives way to a sudden shift in tone as Alice lashes out at Alfred, shouting “I hate you for getting sick!” It's a powerful moment of raw emotion that leaves the audience reeling.
In “Isn’t It a Trial?”, Kasey McKenzie commands the stage as the Queen of Hearts, delivering a performance that is both fierce and poised. Her musical showdown with the Caterpillars is excellent, showcasing her vocal strength and her character's regal, yet petulant, nature. And even from the back rows, her sharp, sour expression is visible and captivating. Meanwhile, Ines Hayman brings a manic energy to the lesser-known role of the Duchess. In "Manage Your Flamingo," set amidst the chaotic croquet game, she transforms her minor role into a scene-stealer, injecting each moment with vivacity. The Mock Turtle scene is also a riot, with Ashlee Hawe’s dramatic portrayal of the melancholic turtle, supported by the hilarious interactions with Allie Parsons, Maddison Markham, and Chantelle Turnbull as fellow mock turtles.
The heart of the production lies in its exploration of grief and the comforting escape of storytelling. 'The Key is in You' stands out as a hauntingly beautiful piece, with Taea shining in the midst of stunning group choreography that incorporates the overhead lifts from the original production. Another particularly gut-wrenching moment is the tender song 'Still,' where Alice desperately tries to hold onto Alfred by lingering in her retelling of their beloved childhood story. The chemistry between Alice and Alfred, and the emotional weight of watching her grasp at memories, elicits a true sense of sorrow.
These more emotionally-charged moments of the musical are particularly impactful: 'Your Shell of Grief' stirs deep emotions, while the tender duet 'Another Room in Your Head' blossoms into a moving group performance with lush harmonies, and 'Some Things Fall Away' sees the Cheshire Cat comforting Alice as she grapples with the painful realities of grief. The cast's vocal delivery during these scenes effectively captures the stages of denial, sorrow, and eventual acceptance.
The final numbers, 'Afternoon' and 'Winter Blooms,' are a touching farewell, with Alice finally letting go of her dear friend - so genuine that the actress was visibly moved to tears and beautifully framed by the lighting design. These closing numbers tie the narrative together, not as a whimsical escape, but as a reflection on the inevitability of loss and how we cope with it. It’s a testament to the depth of emotion these young performers have been able to access while rehearsing this show.
There are, of course, a few rough patches—occasional flat notes and moments of visible nerves—but for a young cast at the start of their musical theatre journeys, their passion and commitment in every scene are undeniable. Queensland College of Dance has taken on the mammoth challenge of staging 'Alice By Heart'', but under the expert direction of Jacqui Devereux and Tim Hill, they've crafted a production that's both touching and visually captivating. The students rise to the occasion with remarkable dedication and talent, making this show not only a valuable learning experience for them but also an enchanting evening for the audience, filled with music, madness, and magic—through a story that everyone knows... but not quite like this. As Alice says goodbye to Alfred and the rabbit hole closes for the last time, you’re left with the bittersweet echo of her story—a deeply emotional journey through love, loss, and the importance of finding comfort in stories, even in the darkest of times.
Photographs by Ines Hayman and Peter Cabral Photography
*Apologies for any incorrect pronouns used in this review, as they were not specified in the program. I am more than happy to make any corrections if needed—please feel free to point them out to me. Thank you for your understanding!
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