When I first heard that the Sherman Theatre’s Christmas show would be a reimagined Alice in Wonderland, I felt a flicker of panic.
Would this be another classic dragged into the present day with the sole intention of preaching about the dangers of the modern world? Would Mad Hatter be rebranded as some sort of malfunctioning AI Chat Bot or the Cheshire Cat portrayed as a destructive influencer purring misinformation throughout Wonderland?
Thankfully not. My fears were soon eased when I discovered that this modernisation wasn’t going to be all that modern after all. This retelling transports Alice not to a digital dreamscape, but far more creatively to 1940s Cardiff. Rather than forcing the present onto the past, the production uses its new setting to explore a lesser-known chapter of Cardiff’s history and asks how a shattered city might rebuild itself.
It’s Christmas Eve, and Alice is now an adult working as a town planner for Cardiff City Council. She’s embraced the practical and the mundane, much to the frustration of her daughter, Carys, who still clings to the imaginative spark Alice has long forgotten. When Carys disappears into the clutches of the Red Queen, Alice is forced to return to Wonderland and in doing so, rediscovers the child she used to be.
At first, Elian Mai West’s Alice is given a rather thankless role of ‘chief eye-roller’, rejecting all opportunities to join in on the obvious fun being had by everyone else both on and off-stage. But West channels Alice’s reluctance with integrity and allows glimmers of her real charm to shine through, hinting at the wonderfully offbeat and goofy character that fully emerges in the second half. With great characterisation, strong vocals – and hidden musical strengths revealed at the very end – she’s a perfect Alice.
Mari Fflur is impressive as daughter Carys. What could easily have been a flat rebellious-teen role is instead animated with humour, sass and emotional depth, especially in her interactions with the Red Queen. Speaking of which: Caitlin Lavagna absolutely steals this show. She brings the Red Queen to life with superb comic timing and powerhouse vocals. She’s a villain to root for; silly, terrifying and yet completely endearing.
Kieron Self as the White Rabbit commands the stage comfortably. He is completely at home with this sort of comedic role (the closest a Sherman Christmas show comes to ‘Buttons’) and whilst he doesn’t exactly break the fourth wall, he certainly enjoys poking at it with inspired improvisation.
But the show is a true ensemble triumph. Emily Ivana Hawkins tackles her role as the Unicorn with joyous exuberance. Joe Tweedale demonstrates immense comic versatility. Oliver Wood’s Elvis-inspired Humpty Dumpty is an inspired slice of surreal comedy and the Sherman’s apprentice actor Zara Law nails a number of small but distinct roles, each bringing their own charm.
Max James as Mad Hatter offers a delightfully understated performance in contrast. In a show already populated with larger-than-life performances, James clearly understands that for Hatter’s ‘madness’ to stand out it should be quietly unhinged and introspective. His vocals too, are absolutely gorgeous.
McPake’s script is smart, funny and never patronises its younger audience. Her dialogue captures a playful absurdity but is also anchored by real emotion. It asks some interesting questions about ‘progress’, the directions that should be taken after disaster – specifically looking at how the destruction caused by the blitz offered a unique opportunity to rebuild with a focus on both communities and ecology. It also taps into a familiar but valuable idea, a reminder that you don’t stop playing because you grow up, you grow up because you stop playing.
Music, composed by Lucy Rivers, is always engaging and blends numerous genres – and it has to be said, I’m an absolute sucker for actors doubling as musicians. For instance, I don’t think it’s possible to be in anything but a state of awe as Caitlin Lavagna soars through the high notes, brings the house down with laughter, and then, in the very next scene, takes to the drums with complete, effortless nonchalance.
In a time where so many festive-theatre offerings opt for safe nostalgia and reimaginings of classic works too often depress us by pointing out the flaws in our modern world, Alice: Return to Wonderland is utterly refreshing. With vibrant live music, a tremendous ensemble cast and a script which satisfies both children and adults, there is no doubt this is the show to see this Christmas.
Alice: Return to Wonderland plays at the Sherman Theatre in Cardiff till 3rd January 2026.
