Alice in Wonderland

An enormous community cast contributed to Gargrave Pantomime Group’s 2025 offering. But a panto it was not. The story of Alice in Wonderland, adapted by Kathleen Thompson, included a few of the essential panto elements but essentially it faithfully followed the episodic story written in 1865 by Lewis Carroll.

The story is inhabited by a wide range of totally surreal characters. There were so many that I can only mention a selection here, but well done to everyone and a big shout out to costume and make-up for presenting us with such beautifully drawn portrayals.

An original and appropriate opening announcement led us into the story with strong local references from an ironic and poker-faced jester character. This was a tricky role to play and Cassia Sauer worked hard to pull out the comedy from her monologues. The beautifully costumed white rabbit (Peter Poulter) was late for everything and guided us through the story with aplomb.

There was a great song from Gemma Tetley who, as the Cheshire Cat was ‘imprisoned’ in her tree, but her facial expressions and crazy eyes delighted the audience. Tweedledum and Dee played by Anna Burke and Claire Preston brought lots of energy to the stage and were full of joy. They really got the audience joining in. The Mad Hatter (Lydia Jones) was high impact and made a strong, if crazy impression. She is apparently new to the group and is an asset.

Act Two got off to a flying start with the delightful roses whose number Sparkle and Shine had great singing followed by some excellent dialogue. There was a troupe of sweet little playing cards. The spades had excellent diction while the playing card marching dance had us all in stitches- in a very good way- with the cards determined efforts to march in time and step. The Red Queen and her King, and their knave of hearts all gave great performances and Laura Lipscombe’s song Don’t Rain on my Parade was one of the highlights.

The whole show was held together by Poppy Tetley as Alice. She was hardly off the stage and her commitment and attention never wandered from the action. She was always in the role and acting her socks off.  She sang beautifully and she looked every inch Alice Lidell with her long straight hair and a beautiful costume. Many congratulations go to her.

In his Chairman’s notes, Richard Smith writes that the group does its best to nurture an interest in theatre for young people. Part of the reason for picking this script was to provide small parts for many more young actors and this was achieved. There were some lovely vignette pieces, a dormouse and a mouse especially caught my eye and the dodo looked wonderful in his amazing costume.

A special mention must go to set painters Sarah Pawson and Emma Lottey. The two ‘Alice’ scenes were absolutely perfect- complex and surreal. They made a fantastic impact on stage. Everyone involved backstage must have worked very hard to get the show to this level.

But most of all well done to the group for involving so many young people in a real village activity which is purposeful and meaningful and which entertained everyone on stage, backstage and in the audience.

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