Sydney Lyric Theatre presents Cirque Alice by Tim Lawson and Simon Painter, a dazzling reimagination of Lewis Caroll’s Alice’s Adventures in Wonderland.
Featuring an impressive ensemble of performers from across the globe, the production blends high-flying aerialists, impressive contortionists, intricate puppetry, vibrant dancers, and musical and comedic performances into a richly layered spectacle.
With so many elements competing for attention, Cirque Alice could easily feel overwhelming. Instead, it achieves a surprising sense of cohesion. Leading the cast as Alice, Australian performer Layla Schillert delivers a captivating performance, her soaring soprano blending seamlessly with the classical score that accompanies much of the production.
The production shifts effortlessly between dance sequences, aerial feats, comedy routines, and circus artistry, making the transitions rarely feel jarring. Several musical numbers are performed in languages other than English, lending the show an additional sense of theatrical grandeur and international flair.
While the narrative draws inspiration from Carroll’s iconic story, it does so very loosely, borrowing its familiar characters and themes whilst prioritising visual storytelling. As a result, Cirque Alice feels less like a traditional retelling and more a celebration of creativity, talent, and wonder. The production blends visual artistry with audience interaction in a way that proves particularly engaging for younger audiences whilst still providing immense enjoyment for older individuals.
A standout among the cast is Paul Dabek as the Mad Hatter, whose performance serves as the comic heart of the production. Possessing remarkable charisma, impeccable timing, and immense wit, Dabek commands the stage whenever he appears. His spontaneity and humour appeal across the extremely receptive audience. Beyond the comedy, he also showcases impressive magical illusions and skilful puppetry, adding further dimensions to an already memorable performance.
Another standout was the Ramadhani Brothers, whose remarkable display of strength and balance towards the end of the show was both nerve-racking and extraordinary, with each feat seeming more impossible than the last. The lighting (Hugo Mercier) and costumes (Angela Aaron) contribute greatly to the show’s visual appeal. Rich colours and carefully timed lighting changes enhance both the spectacle and intimacy of the production, whilst the costumes strike an impressive balance between thematic cohesion and individual expression. The result is a visually captivating stage that really feels like Wonderland.
Ultimately, Cirque Alice succeeds in exactly what it sets out to achieve: creating a world of wonder. The sheer scale of talent on display creates an experience that is both immensely captivating and unique.
