It was an absolute treat to watch the Royal Ballet open their season with Alice’s Adventures in Wonderland last Saturday night, their latest run since 2017.
Starring Francesca Hayward (Alice), William Bracewell (Jack/Knave of Hearts), James Hay (Lewis Carroll/White Rabbit), Steven McRae (Mad Hatter) and Lauren Cuthbertson (Queen of Hearts), Lewis Carroll’s story was brought back to life in Christopher Wheeldon’s beloved production.
From the moment the White Rabbit pulls us into Alice’s fantasy world, we are offered a delightful and impressive array of projections, props, and magic as Wonderland comes to life (the work of designer Bob Crowley).
Admittedly, the nonsensical terminology of Carroll’s writing is lost in the silent ballet, but Joby Talbot’s orchestral score lends a playful air to the dancers’ pantomime and the detailed projection work creates a whirlwind whimsy.
Hayward performs an effervescent and girlish Alice, setting up her budding romance with the gardener’s son Jack at her family’s tea party. She is emotive and bubbly, leading us through the entire show with an impressive showing of stamina.
Crowley’s design is bold and beautiful throughout the ballet, and props that drew laughs were the mechanical hand that presents Alice with the ‘Eat Me’ cake and the colour-changing rose bushes.
Everything is presented in technicolour detail from the Duchess’ butchery – a phenomenally created if not terrifying set filled with knives, stoves and unending sausage links – to a meeting with the Cheshire cat, cleverly done with puppetry and lighting to allow its parts to float around and disappear.
Those who are unfamiliar with Wonderland will have to rely on the Royal Ballet’s synopsis as some scenes switch rapidly and character after character gets introduced.
The iconic Mad Hatter’s tea party is less than five minutes long, and there are scenes like the garden dance and Caterpillar’s meeting that do not explain much or push the narrative along. However, the dancing and set are so impressive that they provide more than enough entertainment for a good day out.
Standout performances included Knave debutant Bracewell, who made partnering Hayward look effortless despite the number of lifts in their pairing. Watching the Knave’s jumps brought a smile to my face, and yet the softness in his pas de deux with Alice was a perfect partnership.
Another character who shone was Cuthbertson’s Queen of Hearts. Despite spending Act I and II being wheeled around in her giant, perfume bottle-like structure, Cuthbertson cuts a commanding presence with only her arms and face.
When the Queen finally steps out to dance, her technique remains evident as she gets manhandled about in spins and splits by her bumbling card servants.
Lastly, all eyes were on Steven McRae as he tapped his way back onto the Royal Ballet’s main stage for the first time since his knee reconstruction.
The Mad Hatter’s theatrics and crisp footwork were back on full display as the vivacious McRae flew through the tea party in Act II, and was truly a highlight.
McRae tore his ACL last autumn and he worked with rehearsal director Christopher Saunders to alter the choreography he originated. This ensured he could perform the Mad Hatter’s intense routine safely, including turning a jump off of a Victoria sponge trampoline into a lift with the March Hare.
With the laughter throughout and repeated applause received by the entire cast, it will no doubt be another triumphant run for the Royal Ballet. Those new to ballet will also enjoy Alice with its vibrant visuals and whimsical comedy, while ballet fans will be more than pleased with the incredible dancers on display.
For those who want to fall down the rabbit hole, the Royal Ballet are running Alice’s Adventures in Wonderland until 1 November, and pick up again next summer between 13 June to 6 July.
Image – Credit to Alice Pennefather and provided by the Royal Ballet
