REVIEW: ‘Alice in Wonderland’ Returns One’s Wonder

REVIEW: ‘Alice in Wonderland’ Returns One’s Wonder

Why rush growing up? In Alice in Wonderland, Alice herself longs to be counted among the grown-ups, ready to join their tea parties and croquet games, until her adventures in Wonderland remind her, and us, that there is no need to hurry. Repertory Philippines’ Theater for Young Audiences (RTYA) brings this theme to life in its musical staging of Lewis Carroll’s classic, with music and lyrics by Janet Yates Vogt and Mark Friedman, inviting both children and adults to step into a familiar world of whimsy. The result is a staging that bridges generations, reminding audiences that Alice’s adventures are not only for the young, but for anyone who dares to remember the beauty and wonder of childhood. 

GROWING UP CAN WAIT

The show opens with Alice (Justine Narciso) restless at being left out of the grown-ups’ afternoon activity, left to entertain herself with a book that has no pictures. In a dreamlike shift, curious creatures appear in the living room and beckon her to Wonderland, led by the perpetually hurried White Rabbit (Steven Hotchkiss) with a large clock on its belly. Wonderland is entered through a rabbit hole, staged using a circular opening built into the top of a two-storey platform. Actors leap through this opening and disappear from sight, each fall punctuated by a precisely timed sound effect that completes the illusion of a plunge into another world.

What distinguishes Alice in Wonderland as a classic children’s story is its refusal to saddle Alice, a young lead character, with a grand, world-saving quest. Her journey begins from a recognizably youthful impulse: the impatience to grow up. The production gives Alice a responsibility scaled to her age: returning the Queen’s missing fan. Though simple, the task reflects how even small responsibilities can nurture independence and shape a child’s sense of self.

On the way to the Queen’s (Pinky Marquez) castle, Alice meets a host of eccentric creatures, who each tilt her perspective on time and delight, including the Cheshire Cat (Sebastian Katigbak), with its mischievous grin, showing her how wonder and delight can exist even in the absurd. The Mad Hatter (Hans Eckstein) and his endless tea party reflect the boundless playfulness of childhood, where fun repeats itself yet never loses its charm. The twins, Tweedle Dee (Ornella Brianna) and Tweedle Dum (Paul Atienza), embody the spirited, if sometimes nonsensical, camaraderie of being young. And most poignantly, the Mock Turtle (Jay Pangilinan) urges Alice not to chase time anxiously, but to trust that growing up happens in its own rhythm. These encounters gradually temper Alice’s impatience. By the musical’s conclusion, her final exclamation—“It’s always tea time here!”—rings not as a refusal to grow, but as a realization that childhood’s joy can be carried forward, that every age has its own kind of wonder.

VISUAL FEAST OF WONDERLAND

The production succeeds in giving children a whimsical theatrical experience by weaving together vibrant design elements and playful illusions. Co-directed by Joy Virata and Cara Barredo, with set design by Lawyn Cruz, costumes by Hershee Tantiado and Phillip Domingo, and lights by John Batalla, the staging builds a playful sense of surrealism for Wonderland. Cruz’s set plays with scale, using curious, colorfully shaped doors and oversized food and teacups to show how Alice appears to shrink or grow. Tantiado and Domingo’s costumes highlight the eccentric personalities of Wonderland’s creatures, while Batalla’s lighting shifts the mood from cozy domesticity to dreamlike wonder.

Batalla’s lighting design heightens this sense of wonder, with vivid, magical colors that balance perfectly with the playful props. Its brightness and variety echo the bold palettes familiar to children from picture books and animated shows, making Wonderland instantly engaging for young audiences. This vibrant wonderland is sharply contrasted with the simplicity of Alice’s real-life living room, highlighting the difference between the mundane and the fantastical.

GA Fallarme’s projections further heightened the sense of magic, most memorably through the Cheshire Cat. Its grinning face appeared unpredictably across panels and backdrops, evoking the character’s mischievous vanishings and reappearances. Costumes, designed by Hershee Tantiado and Phillip Domingo, added yet another layer of invention. The Cheshire Cat stood out with its actor folding his arms so the enlarged feline eyes pasted on his elbows became its hypnotic gaze. Just as memorable were the Caterpillar (Lance Soliman), ingeniously formed by three ensemble members linked together; the Mad Hatter with a teetering hat stacked with teacups; and the card soldiers in literal card-shaped bodies. 

CURIOUSER AND CURIOUSER VOICES

The strength of the performances do justice to the elaborate production. Clarity in both dialogue and song ensures that every word lands, while distinct tones shape each character into someone unforgettable. Narciso as Alice carries a bright, youthful voice that naturally prompts children to answer her rhetorical questions. Pangilinan as the Mock Turtle, in contrast, speaks with a slow and aged cadence befitting his character, punctuated by puns such as his teacher “Tortouise” (“taught us”), which drew laughter from the crowd.

Brianna as Tweedle Dee and Atienza as Tweedle Dum brought energy and humor through their playful songs, cleverly inserting their names into familiar children’s tunes like the ABCs and “Happy Birthday.” They encouraged the audience to sing along, a choice that proved effective as the rhythm lingered in memory long after the scene. Marquez as the Queen, in contrast, commanded the stage with her sharp, piercing tone and foul-tempered outbursts, making her infamous demand—“Off with their heads!”—both intimidating and unforgettable. Each character was given a voice and style that not only suited their role but also etched them distinctly in the audience’s imagination, proving how effective the acting and interactive choices were in bringing the story to life. 

Overall, RTYA’s staging succeeds not only in reintroducing a classic but also in inviting us to linger a little longer in childhood wonder.
 

Tickets:  PHP 1,500 (Orch Center), PHP 1000 (Orch Side)
Show Dates: August 23 to December 14, 2025
Venue: REP Eastwood Theater
Running Time: 1 hour and 30 mins (includes a 15-minute intermission)
Company: Repertory Philippines
Creatives: Joy Virata and Cara Barredo (Co-directors), Lawyn Cruz (set designer), Lou Cagalingan and Kath Fernando (assistant set designers),  Hershee Tantiado and Phillip Domingo (costume designers),  Stephen Viñas (choreographer), Deo Dela Cruz (assistant choreographer/dance captain), John Batalla (lighting designer), GA Fallarme (projection designer), Phoebe Bitoon (musical director), and Johann Dela Fuente (hair and makeup designer).
Cast: Justine Narciso, Cheska Quimno, and Reese De La Vega Iso (Alice); Pinky Marquez, Cara Barredo, and Mayen Bustamante-Cadd (Queen); Steven Hotchkiss and Gabo Tiongson (White Rabbit); Hans Eckstein and Gerhard Krysstopher (Mad Hatter); Sebastian Katigbak, Stephen Viñas, and Gerhard Krysstopher (Cheshire Cat); Ayam Eckstein and Jay Barrameda (Doormouse); Johann Parungao and Kenny Isidoro (March Hare); Ornella Brianna and Katie Bradshaw (Tweedle Dee); Paul Atienza and Drew Bustamante (Tweedle Dum); Jay Pangilinan and Vino Mabalot (Mock Turtle); Karl Navato and Jay Pangilinan (Dodo Bird); Sean Nolasco and Vinz Cantillo (Knave of Hearts); Lance Soliman and Yhuan Gatbunton (Caterpillar); Jaqui Jacinto, Monica Tulio, Cheska Quimno, Julia Panlilio, Lucylle Tan, Tanja Santos, Coleen Paz, and Jiliana Tavares (Female Ensemble); Deo Dela Cruz, Jae Valencia, VJ Cortel, Keith Campus, Astro, and Dj Buban (Male Ensemble)