“This adaptation is fun, vibrant and bold, and Penny Farrow’s brilliantly reimagined version earns its place in the pantheon of Alice adaptations, standing comfortably alongside the best”

The Fan Carpet previously spoke in depth with Charlotte Bradley about the production and her role as Alice.

Lewis Carroll’s Alice in Wonderland has always been one of those weirdly beautiful, gloriously bizarre stories that never loses its magic. Over the years there have been countless adaptations of this literary classic. Even Disney has tackled it three times, with the animated version still standing as the strongest from the House of Mouse. That is, of course, until a new challenger enters the ring.

This adaptation is fantastic and feels true to Carroll’s vision. It is not a beat-for-beat retelling of Alice’s first adventure in Wonderland, but that is exactly what makes it so clever. Penny Farrow’s adaptation smartly cherry-picks the key moments, keeping the story fun, vibrant and full of wit, charm and absurdity, while creating a beautifully streamlined version that works brilliantly on stage.

The fact this is now enjoying a second run is a testament to just how strong the production is. The puppetry is a particular highlight. For me, the standout was the Cheshire Cat, brought to life by Eddie Ahrens. It was wonderfully vibrant, and while there were shades of Sterling Holloway and a touch of Stephen Fry in the performance, Ahrens very much makes the mischievous feline his own. The Dodo is also superb, and the entire sequence in which Alice floods the Rabbit Hole with her tears is beautifully realised on stage.

The standout performance for me, however, was Charlotte Bradley as Alice. Yes, I know, hardly a shock given I had the pleasure of speaking with her during the show’s original run, but this is not bias talking. The return engagement speaks for itself. Alice in Wonderland simply does not work without a strong Alice at its centre, and Charlotte is excellent in the role. The fact that the talented young actress is so clearly not seven years old only adds to the absurdity and charm of the piece.

Another standout was Clare Brice as the White Rabbit, who is wonderful throughout. Given I had my own White Rabbit situation getting to the show, that felt oddly ironic and rather poetic. Skye Hallam and Sophie Wilkinson are also brilliant as Tweedledum and Tweedledee, bringing huge energy, humour and warmth to their scenes. In truth, the entire cast is excellent. There are no weak links here, and what they achieve on stage is nothing short of remarkable.

I will not spoil too much of the production’s immersive magic, but special mention must go to the Queen of Hearts, whose performance is superb. The characterisation carries echoes of Helena Bonham Carter and Verna Felton, while the sheer theatricality of the role adds even more absurdity and bite to Wonderland’s chaos.

The staging is equally impressive. Every inch of the space is used to full effect, and the lighting cues are especially strong, with the red hue used to reflect the Queen’s fury standing out in particular. If you are lucky enough to catch this production, it is an absolute must-see.

Honey Gabriel is also excellent as the Mad Hatter, fitting perfectly into the delicious madness of Wonderland. And as the Cheshire Cat famously says, “we’re all mad down here.”

This adaptation is fun, vibrant and bold, and Penny Farrow’s brilliantly reimagined version earns its place in the pantheon of Alice adaptations, standing comfortably alongside the best.