Alice’s Adventures in Wonderland

It’s not new to the Australian Ballet. It’s not even part of the 2024 Season. However, Christopher Wheeldon’s fantastical version of the famous story is truly a ballet spectacular.  Opening night crowds vary these days but on Friday night, the big difference was how many children were in attendance. They had dressed up in sparkles and some in tiara’s to see the wonderful spectacle of dance, projection and puppetry which is Alice’s Adventures in Wonderland.  I’m not sure if it was the younger audience or the fact that it was the last opening night of any production to be performed at the State Theatre until 2027, but there was an air of celebration, joy and a slight hint of melancholy before anyone hit the stage.  The State Theatre will be closing at the end of this run of shows for renovations as part of the extension of the arts precinct and the building of a new modern art gallery. It’s worth the price of admission just to take a moment to say goodbye to the red velvet seating and the brass ball ceiling.

Fortunately, you don’t have to pay just to see the theatre – you also get the most fun you’ll have seeing a ballet.  Yes, Wheeldon’s Wonderland is a joy to behold. The audience is perfectly positioned to feel the joy, confusion and yes sometimes fear, that Alice feels as she goes down the rabbit hole. In a previous staging, Ako Kondo brought playfulness to the role (and will again this time) but on opening night it was Benedicte Bemet who donned the mauve dress and headband.  Bemet was born to play this role.  She is light and effusive, sweet and coy and spectacular on her feet.  The role of Alice is incredibly demanding. Bemet is on stage for every scene in every act.  She is, as always, a captivating dancer and has finally developed the acting chops to go with her footwork.

Joseph Caley plays the Knave and he is indeed a fine dancer. And by that I mean he’s fine. What Caley lacks is presence – something that reaches out and grabs the audience and makes them love him. This is made all the more obviously when Chengwu Guo or Robyn Hendricks are on the stage.  Sure, the White Rabbit and the Queen of Hearts have comedy to help them along but Guo and Hendricks both have gravitas and that is something which cannot be taught.  No matter how good they were however, the show was well and truly stolen by George-Murray Nightingale as the tap dancing Mad Hatter.  Coming a close second to the Madhatter’s shenanigans was Larissa Kiyoto-Ward as the horrifying Cook.  I remember this scene so vividly from previous staging of the show and it won’t leave you in a hurry.  This is the only part of the show which isn’t really suitable for younger viewers.

The sets are amazing. The costumes are sensational. They effects are wonderful – particularly the flower petals falling from the ceiling when Alice peaks through the small door.  There are hedgehogs, flamigoes, pigs, frogs, fish, a dormouse, a rabbit, a march hare and even dancing

Liza Bermingham

Photographer: Christopher Rodgers-Wilson