It’s been 13 years since Christopher Wheeldon’s acclaimed ballet, “Alice’s Adventures in Wonderland,” first enchanted audiences at the Royal Ballet and took them on a whimsical journey down the rabbit hole. Since its premiere, this distinctive adaptation of Lewis Carroll’s fantastical story has become a cherished classic worldwide.
What makes it so appealing to audiences everywhere? For starters, Bob Crowley’s creative designs are a highlight, featuring vibrant colors and innovative visual elements like projections, puppetry, and extravagant costumes. However, the real magic lies in Wheeldon’s exceptional talent for blending challenging classical dance with humor and a touch of Broadway flair, which endears him to many.
Who could possibly resist a ballet where the Caterpillar is represented by a dazzling chorus line of blue legs, and the Queen of Hearts performs a frenetic Tart Adage—a playful take on the iconic Rose Adagio from “The Sleeping Beauty”—while four hapless suitors fumble to keep up, awkwardly stuffing jam tarts into their mouths as they avoid her intimidating feet?
Every character, from the lively footmen to the ethereal Cheshire Cat, adds a unique charm to the stage, enhanced by Joby Talbot’s richly textured score. The dancers of the Royal Ballet expertly capture the varied emotions and vibrant colors of this production during its extended run in the repertory.
During a recent matinee I attended, first artist Viola Pantuso made a captivating debut as Alice, embodying innocence and wonder. Marcelino Sambé, portraying her romantic interest Jack, infused their partnership with tender joy. In the evening show, Francesca Hayward and William Bracewell delighted the audience with their warm chemistry and expansive, graceful dancing.
Lauren Cuthbertson, who initially debuted as Alice, transitioned seamlessly into the role of the Queen of Hearts, showcasing both technical skill and sharp comedic timing. A standout moment was Steven McRae’s return from injury, as he energized the stage with his tap-dancing Mad Hatter.
Returning to the UK for the first time since 2013, The National Ballet of Canada graced Sadler’s Wells with “Frontiers,” featuring a captivating series of works by Canadian choreographers, including the UK premiere of Crystal Pite’s stunning “Angels’ Atlas.” Design is pivotal in this piece, as designer Jay Gower Taylor and lighting designer Tom Visser create a wall of shimmering white light that shifts mesmerizingly, evoking imagery from fireworks to cracking ice.
The dancers perform in dynamic formations, pairing up to spin and collapse into beautiful cascades. The choreography continuously surprises, illustrating themes of fragility and resilience, all set against a haunting score that blends Tchaikovsky and Morten Lauridsen, leaving a lasting emotional impression.
While the other two pieces were beautifully executed, they felt less impactful. “Passion” by James Kudelka explores the modern romance of a contemporary couple navigating the intersection of love and classical dance. Emma Portner’s “Islands” poignantly delves into themes of dependency and separation, represented through the physical connections and disconnections of two dancers. The entire company performs with commendable dedication, making it a pleasure to watch.
**Star Ratings (out of five):**
– “Alice’s Adventures in Wonderland” ★★★★
– “Frontiers: Choreographers of Canada” ★★★
“Alice’s Adventures in Wonderland” will be staged at the Royal Ballet and Opera until November 1, with additional performances slated for June 13 to July 6, 2025. “Frontiers: Choreographers of Canada” will be showcased at Sadler’s Wells until October 6.