Miriam Margolyes recently said she was worried about adults who still loved Harry Potter because those books are for children and we should really be moving on. Her argument is that things that belong to childhood should remain there, and there is a truth to that. However, I also think that there is a comfort in stories that we grew up with, but the reality is, for most of us, when we revisit these stories because we are older, sometimes wiser, we interact with them differently. Sometimes the reality of our lives means that the magic that once captured us isn’t the same. This is the central motif in Alice by Heart: how can you hold onto a story when the end is coming whether you turn the page or not?
Benjamin Oliver’s vision for Alice by Heart aligns perfectly with the show's vision and message. Alice’s fantasy is paper-thin, clinging on despite the reality that is coming for her, whether she likes it or not. This sentiment is echoed in the set and costume design—simple set pieces that can go away in an instant and statement pieces that can be removed easily. An example of this is the Mad Hatter’s hat; in the original text and all popular depictions, the hat represents a grand delusion. Mad in the way of an eccentric uncle is mad; Oliver’s choice to use a turn-of-the-century helmet gives symbolism to the madness that aligns with the world Alice currently lives in—London during the Blitz. I can see a way that this show can be done with all of the bells and whistles, but I think that would be counter to the core of what the text is trying to communicate. Oliver understands and loves this text, and you can tell in the attention to detail.
The show being bare means that the sound and movement are on full display. The Musical Director, Emma Snellgrove, has done a phenomenal job of getting this cast together. The solo lines are beautiful, but the harmonies are stunning and rich. There is a moment when the music cuts and the cast sings a cappella; they sound phenomenal and are so in tune with each other that it is nothing short of impressive. This is not easy to achieve, and Snellgrove should be proud of what she has accomplished with her cast. Daniella Giles, as choreographer, has a tricky job with this musical. The “Wonderland” elements need to be fantastical and camp without taking away from the scene—a balance that I think she achieves beautifully. My favourite was the caterpillar choreography, which used the space and the bodies of the cast in such a fun way that was the right amount of whimsical without being indulgent.
At the centre of this story is Alice and her White Rabbit. The conceit here is that Alice (Megan Robinson) is using the story of her adventures in Wonderland to avoid the reality of the impending death of her dearest friend Alfred Hallam (Daniel Mark Wakeford). Robinson and Wakeford do a lot of the heavy lifting in the narrative, and they are so impressive as performers. Robinson’s voice is beautiful and has an ethereal quality as Alice that captures the longing to escape the real world. Wakeford does an excellent job of moulding to what the scene requires. When given the chance, he is hilarious; when it calls for it, he delivers solemnity. The pair have excellent chemistry and play with each other very well.
Alice is joined by a colorful ensemble of talented and committed performers. The performance space is intimate, which means that an ensemble, no matter how small the role, has the chance to shine and capture the attention of the audience, and that they did. Several cast members had featured numbers and really thrilled the audience and helped to create this Wonderland fantasy. Matthew Dorahy as the Duchess was fabulous and had the audience in stitches and really chewed the scene in the best way possible. Liam Verity as the Mad Hatter was imposing and engaging, and I believe did a great job of showing a character suffering shell shock in a respectful performance. Mark Aloi really impressed me with his voice as the caterpillar, the perfect level of camp, and really helped to build the energy on stage. Honestly, I could say nice things about everyone; each performer gave their all and had strong character choices that differentiated them between the real world and the fantasy that Alice was leading us through.
I found Alice by Heart reminiscent of Spring Awakening in its style, but less intense. For me personally, this means that there is a disconnection between the scenes and the songs in tone at some points that took me out of the moment, but this is not a point against this production—that is an issue with the way the text is written. Staging a NSW premiere is not easy, if only because you can’t borrow costumes or sets from anyone else, and as such, it is an ambitious choice and it is one that the team at Muse has done successfully.
I recommend this show to anyone who wishes they could change the ending of a story, or perhaps just delay turning the page.
Photo Credit to Emily Moudanidis
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