Alice in Wonderland

Burnley College Performance Theatre’s Alice in Wonderland was a bright, good‑natured production that balanced humour, colour and pace in a way that suited the studio setting. The direction, let Paul Danby, Amy Townley, and Poppy Olah, kept the story moving clearly and made strong use of the space, guiding the cast toward performances that felt confident and well‑shaped. The ensemble supported the action with consistency and energy throughout.

The choreography, created by Poppy Olah, Harriet Whittaker, Jessica Foulds, Samantha Allen and Emily Reynolds, gave the show much of its shape. The twelve dancers worked with strong ensemble discipline, supporting scene transitions, musical numbers, and character moments with well‑rehearsed precision. Their unison work helped support pace, and they adapted cleanly to shifts in style and staging. The Card Army tap sequence stood out for its neat rhythms and characterful detail, but the overall strength lay in how consistently the group moved together, providing a reliable backbone to the production. Musical direction by Amy Townley provided steady support, with harmonies and lead vocals blending neatly into the movement. Lighting by Mark Storton added atmosphere and focus, shifting between bright colour and darker tones as needed. Sound by Joss Owen remained clear and well‑timed, helping the comedy land cleanly. The set, designed by Mark Storton and Vincent Durbin‑Harper, made imaginative use of the space, with a raised platform, rotating flats and well‑chosen projections creating a flexible Wonderland. Backstage support from HNC and HND Performing Arts students kept the changes smooth, and Front of House volunteers contributed to the welcoming feel. Costumes from Pendle Hippodrome Theatre added clarity and visual appeal.

Nikkita Patton played Alice with a gentle, open curiosity that kept the character grounded throughout. She reacted to Wonderland’s oddities with a natural mix of caution and interest, never overplaying the confusion or the humour. Her delivery remained clear and steady, and she provided a calm, reliable thread through the story, giving the audience a consistent point of focus as the world around her grew stranger and more chaotic.

Jack Vaughan brought an easy, good‑humoured presence to Dame Millie, leaning into the traditional panto style without forcing the comedy. His rapport with the audience felt relaxed, and he handled unexpected moments, such as a wig mishap, with quick instincts and a light touch. His interactions with Alice and the wider cast added warmth, and he kept the character lively without tipping into caricature.

Oliver Owen made Wally the Joker a lively, mischievous presence, using call‑backs and knowingly terrible jokes with confidence. He worked the audience well, giving the character a spontaneous, slightly riotous edge that suited the tone of the show. His energy helped lift several scenes, and he kept a clear sense of fun without overwhelming the action.

Cerys Pearson gave the Knave of Spades a controlled, quietly sinister quality, playing the villain with enough edge to be effective while still fitting the family‑friendly tone. Her frustration with her hapless assistants added humour, and her spell‑casting moment, complete with a long, unwavering note, earned a strong reaction. She balanced menace and comedy neatly, keeping the character sharp and engaging.

Amelie Hope, as Tweedledee, and Tabitha Phillips, as Tweedledum, worked well as a double act, bouncing off each other with bright, playful energy. Their scenes were full of quick reactions, physical comedy, and colourful detail, supported by costumes and acrobatic touches that added to the fun. They kept a clear rhythm together, giving their characters a genuine sense of partnership.

Genevieve Clarkin played the Queen of Hearts with a sharp, controlled presence, her fixed smile masking a more dangerous edge. She delivered the familiar “off with their heads” lines with restraint, avoiding the temptation to shout, and instead leaning into a snide, clipped delivery that suited the character. Her half‑sung, half‑spoken performance of Heads Will Roll felt well judged and in keeping with her interpretation.

Elliot Hargraves presented the King of Hearts as a timid, slightly downtrodden figure, clearly under his wife’s authority. His nervousness and hesitations added gentle humour, and he allowed the character to grow in confidence as the story progressed. His eventual moment of standing up to the Queen felt earned and provided a neat arc within the larger narrative.

Ruby Yates, the Princess of Hearts, and Mickey Wilkinson, Prince Jack of Diamonds, formed an amusingly exaggerated romantic pairing, leaning into the over‑the‑top affection between their characters with good timing and charm. Their duet, Die with a Smile, was delivered with warmth and a touch of silliness that suited the style of the show. Mickey’s attempts to appear brave added an extra comic layer, and together they brought a light, playful energy to their scenes.

Ben Swaine gave the White Rabbit a lively, slightly frantic energy, constantly rushing in and out with the air of someone permanently behind schedule. The repeated lateness became a reliable running joke, and Ben kept the pace brisk with quick entrances and hurried explanations. The scene where the White Rabbit, captured by the Knave for the time‑travelling watch, added an effective moment of tension within the comedy.

Jonathan Baker’s Wizard had an easy, whimsical charm, helped along by a distinctive accent and a well‑chosen beard that added visual humour. His use of alliteration gave his lines a rhythmic, storybook quality, and he delivered them with clarity. It was a small role, but he made it memorable without overstating it.

Terri Gray, Hollie Colbert, and Tobias Jones created a lively, chaotic trio in the tea‑table scene as the Mad Hatter, March Hare, and Dormouse. They handled the fast‑paced dialogue and constant interruptions with confidence, and the shifting seats around the table added a simple but effective comic touch. Their makeup looked striking, and their commitment to the scene’s off‑kilter rhythm made it one of the more distinctive moments in the production.

Isla Rigby played the Cheshire Cat with a confident, quietly knowing presence. Her calm, slightly teasing delivery suited the character’s role as a guide through Wonderland, and she maintained a steady, composed tone that contrasted nicely with the surrounding chaos.

Liliana Turczyn made a memorable entrance as the Caterpillar, rolled onto the stage in an adorned sleeping bag with only her face visible. The slow journey onto the raised platform allowed the audience to take in the image before she shed her cocoon and revealed large, glistening butterfly wings. She handled the transformation smoothly, giving the moment a gentle sense of magic.

Isobel Smith and Karlie Ellis formed a light, amusing double act as the palace gardeners painting the roses red. Their back‑and‑forth exchanges and shared exasperation gave the scene a friendly comic lift, and their timing kept the humour clear and well paced.

Bobbie Parkins brought a firm, no‑nonsense presence to the Sergeant of the Card Army, providing a touch of authority that grounded the larger ensemble scenes. Her delivery was crisp, and she offered a neat contrast to the more chaotic characters around her.

The group of forest hippies — Philippa Meadowcroft, Kori Nockels, Sienna Wolfenden and Alicia Dodgeon — added a relaxed, playful humour to their scenes, offering a different tone within the wider world of Wonderland. Their easy rapport and colourful styling brought a lightness to the forest sequences, and they worked well together as a small ensemble.

The production offered a friendly, colourful take on Alice in Wonderland, supported by a committed cast and a creative team who made strong use of the space. Thank you to Burnley College for an enjoyable evening of theatre; I look forward to seeing more of your work in the future.

 

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