Alice by Heart

This beautifully crafted production sets Alice in Wonderland against the horrors of the London Blitz. Produced with passion by Wanneroo Repertory, this is a production with excellent production values, strong direction and heartfelt performances.

Perhaps overshadowed by political controversy (the cast and crew have been protesting Wanneroo’s Committee decision not to allow a verbal Acknowledgement of Country), the backlash may well be affecting audience numbers. The auditorium had many spare seats on the night I attended, and it may be that audiences are boycotting the theatre for its decision, or boycotting the production due to its argument with the committee. It seems strange that such a strong show is battling for patronage, and it is up there among the better musicals of 2025.

A fabulous debut for director Naomi M. Capon who has directed well and has a clear vision. In particular, Naomi worked with Costume Lead Escher Roe to recruit artists to design costumes as wearable art.  A vibrant and unique approach, what the costumes lack in unity, they make up for in originality - although the success is a little uneven. Standouts include the knitted costume and multiple “legs” of The Caterpillar, the plush, baldness of the Cheshire Cat’s Coat and stunning impact of the White Queen. Wartime costumes were also well handled as were the mass costumes for group numbers.

Luke Miller’s set design is stunning, as what is clearly an Underground Station (with fabulous attention to detail,) becomes Wonderland, complete with surprise entrances and multiple high places for a grinning cat to perch.

Singing is strong throughout, and was supported by a strong live band, under the stewardship of Musical Director Kieran Ridgway and Conductor Daniel Nievelstein.

Title character Alice was played with flair by Ella McCaughey in her second community theatre appearance and first leading role. Looking perfectly Tenniel with her flowing blonde locks she also brought the maturity and drive of an older Alice in a gorgeously sung and acted performance. Love interest Alfred, morphing into The White Rabbit and March Hare, was played with charm and depth by Blair Price Morgan.

Zoe Violet was an audience favorite, physically vibrant as The Cheshire Cat, while Brittany Isaia was the character you love to hate, stealing scenes as The Red Queen and Red Cross Nurse, in a strong performance.

Josh Hollander played the Caterpillar (with a little help from some friends) and Angus, working well as both, Natalies Wiles, as well as being responsible for the fabulous Caterpillar costume, skillfully played a trio of roles as The King, Doctor and Jabberwock. Alicia Lorie likewise nicely gender bent into the roles of Harold and The Mad Hatter. Luca Daniel was great as Dodgy and The Duchess, with Sophie Borland lovely as Clarissa.

A five-member ensemble was kept very busy throughout, and providing great support. The cast as a whole superbly executed Keely Ropers highly physical choreography (more lifts than the ballet).

A very emotionally touching, and very different little show that charmed the socks off its audience. It really deserves to be seen by more people.

Kimberley Shaw