Ali in Wonder(eng)land ⭐️⭐️⭐️

Ali is leaving. There is no other option. Following a white rabbit’s promises of red buses, perfect queues and the sixth largest economy in the world, Ali falls down a very familiar hole and lands in Wonder(Eng)land, a place that looks welcoming but works against you.

Reimagining Alice in Wonderland through migrants' experiences is certainly an ambitious idea, and Ali in Wonder(Eng)land deserves credit for attempting something so bold. There are moments where the concept is genuinely moving, combining fantasy with real-life stories to create images that remain's long after the performance ends. However, whilst the production is packed with inventiveness and heart, the storytelling doesn't always tie its many ideas together as seamlessly as it hopes to.

Lara Parmiani's direction is clear and assured throughout. There is a strong understanding of the emotional journey the production wants to take, and the staging often allows the personal stories to shine. I particularly enjoyed how each performer returned to the same place on stage when sharing their own experiences. It became a subtle but effective visual motif that grounded those moments and gave them extra significance. The production always feels like it knows where it wants to go, even if the route there occasionally becomes a little winding.

Movement is where the production feels less consistent. The opening physical theatre sequence is energetic but lacks clarity, making it difficult to understand what is happening fully. In particular, Ali's journey down the rabbit hole never quite forms a clear visual image, meaning one of the story's most iconic moments loses some of its impact. There is also an opening movement section that feels disconnected from everything that follows and never quite justifies its place within the production. That said, the swimming through the sea of tears sequence is beautifully realised, creating one of the evening's strongest visual moments and proving just how effective the movement can be when fully integrated into the storytelling.

Issy Van Braeckel's set is simple, inventive and wonderfully effective. A long rectangular box dominates the space, accompanied by a smaller brown box and a suitcase that cleverly transforms into the doorway into Wonder(Eng)land. The three-string screens are particularly successful, adding texture, depth, and some beautiful visual compositions throughout the performance. It is a design that makes excellent use of relatively simple materials without ever feeling limited.

Edalia Day's projections complement the production beautifully. Rather than crowding the stage, they quietly support the storytelling, delivering emotional depth and creating striking imagery that improves key moments. They know when to step forward and when to step back, becoming another storytelling tool rather than simply a visual effect.

The costume design, also by Issy Van Braeckel, follows a similarly thoughtful approach. Each performer begins with a neutral base costume before layering robes, ears and additional costume pieces to create different characters. Whilst I never fully understood the significance of the different-coloured T-shirts, the decision to identify Ali by a blue hoodie is a particularly clever touch. It is a simple idea that works remarkably well.

The lighting remains understated throughout but serves the production effectively. Spotlights during the personal testimonies help draw focus beautifully, whilst the rainbow chase sequence adds a welcome burst of colour and playfulness. Like much of the technical design, it understands that sometimes simplicity is the strongest choice.

The sound design centres on a live performer whose work becomes one of the production's highlights. Aside from the occasional technical pop, the balance is excellent throughout, allowing both dialogue and music to coexist naturally.

The music by Selim Guzel and Mouayad Amouneh is absolutely beautiful. Although I wasn't informed which musician I was watching perform, their passion was unmistakable. The live music adds an emotional richness that recorded tracks could not achieve, quietly carrying the audience through many of the production's most powerful moments. It becomes the driving force of the piece, gently leading us through Ali's journey.

The book is ultimately where the production struggles the most. The central concept of retelling Alice in Wonderland through the lens of migration is inspired, and there are several moments where this parallel works beautifully. The integration of real migrant experiences into Alice's world creates some deeply moving theatre, bringing to mind the real stories behind the headlines.

However, the structure does not always support the concept as effectively as it could. The sections where performers step out of the narrative to tell their own personal stories are undeniably powerful in isolation. Still, they sometimes disrupt the momentum of Ali's journey rather than strengthening it. It feels like there is another way these testimonies could have been woven more organically into the narrative.

Similarly, some of the Alice-inspired sequences land brilliantly, whilst others never quite find their footing. The swimming through tears sequence is imaginative and emotionally powerful. Yet, other scenes feel as though they are included simply because they appear in Alice in Wonderland rather than because they serve this adaptation. The audience participation just interrupts the rhythm and flow, briefly taking us out of the story. Likewise, a sequence involving the performers' lifting feels unnecessarily drawn out and doesn't add enough dramatic impact to justify its inclusion.

One area where the production never falters is its cast. Abdollah Aljohi, Adela Belekova, Arlind Daullja, Raquel Diaz, Malgorzata Fronc, Jean-Marie Kalambak, Carmen Castor, Jesus Leon, Wen Yueh Lu, Anna Marsden, Cristina Martinez, Julius Morie, Wilson Ringda, Connie Roche and Hamed Vojoudzadeh all deliver committed and energetic performances throughout.

The actors sharing the role of Ali each bring a unique quality to the character whilst sustaining a clear sense of continuity. Their transitions among multiple roles are handled effortlessly, allowing the ensemble to create an energetic, constantly shifting world without confusion. It is a wonderful example of true ensemble storytelling, and every performer deserves enormous credit for the energy and commitment they bring throughout.

Ali in Wonder(Eng)land is an ambitious and visually imaginative production with an important story to tell. At its best, it creates genuinely moving theatre by blending fantasy with real lived experiences, supported by excellent live music, inventive design and a committed ensemble. Whilst the book at times struggles to balance its many ideas and some movement sequences lack clarity, the heart behind the production is impossible to ignore. It may not always find the perfect path down the rabbit hole, but it's certainly a trip worth taking.

Ali in Wonder(Eng)land is playing at the Jacksons Lane. You can book tickets here: https://www.jacksonslane.org.uk/events/ali-in-wonderengland/#book