‘Alice by Heart’ review
‘nothing short of a stunning dive down the hole, the Wonderland’s characters enchantingly coming to life before our very eyes’
Set against the bleak backdrop of the London Blitz, TDTC’s Alice by Heart asks us how far imagination can take us when the real world begins to fall apart. Where reality bends, agency is malleable, and madness seems to permeate at every corner, what will happen when Alice’s fantasy comes crashing down into her reality?
Despite a hugely compelling concept, I find the source material itself to be a little lacking in direction at times – but Director Estelle Pollard-Cox certainly doesn’t let this phase her. Assisted by Hannah Sheppard, she does incredibly well in overlapping elements of Alice’s reality and fantasy, displaying the difficulty of grief in a striking way, while also creating some extremely moving emotional beats throughout. However, Pollard-Cox makes sure not to negate the scarier parts of Wonderland too, highlights being the entrance of the Jabberwocky and the composition of ‘Isn’t It A Trial?’. The directorial team ultimately creates a vibrant and captivating result of which they should be immensely proud.
Other aspects only serve to elevate this vision – the choreography, for instance, is simply stunning. Daisy Allen and Jobe Hart outdo themselves with every single number: ‘Down the Hole’ is mesmerising, the use of props in ‘Brillig Braeling’ is impressively fluid, and the games of human croquet in ‘Manage Your Flamingo’ are innovative and expertly practiced. All in all, it’s nothing other than a masterclass in physical theatre. As well as this, the band, headed by Sammy Cormack-Repath as Musical Director, is hugely complimentary to the show and is incredibly effective and not overpowering the many moving parts of the vocal and physical ensemble onstage.
The lighting, designed by Jonathan Wilson-Downs and James Stevenson, and assisted by Leyla Aysan Montoya (under the production management of Henry Flack), is genuinely jaw-dropping. Each choice feels not only apt but inspired: the silhouettes of the two leads in ‘Another Room In Your Head’, the devilish redness of the Jabberwocky’s lair, and the greens and pinks of ‘Down The Hole’ are particularly beautiful moments. The set, designed by Steph Roarty, is similarly marvellous and utterly immersive, doubling as both a bomb shelter and Alice’s wonderland, and complete with working bunker-style lamps on the walls. The whole stage team, too, ought to be lauded as various production elements, such as the scene, set, and quick changes are seamless and enhance the show to a great degree.
Alex Tyler (Alice) and George Cass (Alfred/White Rabbit/March Hare) work as wonderful foils to one another: with every scene we see their characters’ relationship develop as they struggle to reconcile with the effects of time. Nowhere is this clearer than in ‘Still’, a gorgeously sung duet in which both actors set an impressive basis to build subsequent character development. Tyler’s eventual desperation as she loses grip of the narrative throughout Act 2 is almost tangible, and her final pained acceptance is a moving contrast to her initial steadfast, almost haughty nature. Cass’ performance works brilliantly against this; the deep bond that Alice and Alfred share is clear, yet his manifestations as the White Rabbit and later the March Hare skilfully express his frustrations with her denial of his condition. Cass perfectly conveys the good-intentioned harshness directed at Alice as she continues her façade, and Tyler aptly continues to retort, making for a wondrous pairing to watch grow over the course of the show.
The supporting cast is no less impactful – Cora Frith Fletcher’s Harold/Mad Hatter is an absolute joy to watch. Her projection and commitment to each and every line injects the show with an immense dynamism that keeps you guessing, making for a true highlight of the performance, especially in the unsettlingly rhythmic ‘Sick to Death of Alice-ness’. Similarly, Charles Moscrop’s Duchess leaves the audience in awe at his comic talent, making hilarious choices (I don’t think I’ll ever hear the word ‘pig’ in quite the same way) which reap consummate reward as an audience favourite. Charlotte Field’s comic skill as the Mock Turtle, too, provides some much-needed tonal relief following the beginning of the second act – her melodrama is brilliantly measured and sets the tone perfectly for the subsequent ‘Your Shell of Grief’.
Yet, the exceedingly engaging comedy does not overshadow the darker characters. Jo Price expresses an impressive range: each of his roles feels distinct and a diverse display of his skill. From the caricature-esque King of Hearts and melancholy Mock Mock Turtle to the dismissive Dr. Butridge and truly terrifying Jabberwocky, Price inhabits each role to its fullest extent with absolute precision, providing one of the most notable performances of the night. Xanthe Gibson as the Red Cross Nurse/Queen of Hearts moves with an impressive stance, her gestures elegant, grand, and elongated, and always leads with her head to emphasise her impressive stare. Her vocal prowess is certainly showcased in the bluesy ‘Isn’t It A Trial?’, heading up the show’s climax with phenomenal power and stage presence, as well as some spirited comic moments also.
Conversely, Charlie Holliday’s Tabitha/Cheshire Cat brings a remarkable groundedness to the tumult of both Alice’s reality and Alice’s fantasy, almost like a sense of calm within the storm. The gorgeous clarity of her voice in ‘Some Things Fall Away’ is goosebump-inducing, providing a much-needed sense of reprieve, solace, and reflection for Alice to finally process her grief. Charlotte Dixon in her range of roles also oughtn’t be overlooked as a backbone to many a scene; her Queen of Diamonds and Caterpillar 2 shine in particular, and her harmonies throughout the show are angelic. Last but certainly not least, Preeya Harte as Angus/Caterpillar/Knave of Clubs offers myriad memorable moments. Their command of ‘Chillin’ the Regrets’ is mesmeric, melting gloriously with the voices of Dixon and Tyler, and their effortless vocal runs in ‘Isn’t It A Trial?’ give us the icing on the cake of a compelling performance.
Alice By Heart is nothing short of a stunning dive down the hole, the Wonderland’s characters enchantingly coming to life before our very eyes. The ability to collate such a talented array of creatives, cast, and crew is truly a testament to this production, and all should be proud of producing such a visually astonishing show.
By Emi Sharples.