Review: REP’s ALICE IN WONDERLAND is Lively, Polished Retelling of Lewis Carroll’s Classic

Manila, Philippines--Repertory Philippines’ latest Theater for Young Audiences (RTYA) production, “Alice in Wonderland,” is a lively and polished retelling of Lewis Carroll’s beloved classic—one that balances spectacle with sincerity. Inside the REP Eastwood Theatre, the stage bursts into a kaleidoscope of color, music, and fantasy: lavish costumes, ingenious sets, and an enchanting score invite audiences to dream wide-eyed and rediscover the magic of childhood.  

For young viewers, it is an accessible introduction to the joys of live performance. For the young at heart, it is a nostalgic return to stories that first sparked imagination.  

From the opening scene, directors Joy Virata and Cara Barredo make their intentions clear: this is no ordinary trip down the rabbit hole. Their Alice is playful yet precise, a production where whimsy is disciplined by craft. Wonderland itself becomes a character—vivid, unpredictable, and constantly threatening to sweep both Alice and her audience deeper into fantasy.  

The visuals are nothing short of a banquet. Oversized props, such as a teacup large enough to sit in, and multicolored backdrops tumble into place with seamless fluidity, turning the stage into a candy-colored dreamscape. Costumes grow increasingly extravagant, conjuring a world where logic is happily abandoned in favor of spectacle. For children, it is pure delight; for adults, a stirring reminder of unbound imagination.  

Justine Narciso plays Alice; Sebastian Katigbak, Cheshire Cat.

At the center stands Alice, played in rotation by Reese De La Vega Iso, Justine Narciso, and Cheska Quimno. Each brings her own shade of curiosity and quiet bravery, grounding the madness with sincerity. They ensure that Alice remains a heroine both relatable and resilient—someone children can look up to, and adults can recognize.  

The supporting cast revels in Carroll’s eccentricities. The Queen of Hearts—alternately portrayed by Barredo, Pinky Marquez, and Mayen Bustamante-Cadd—commands the stage with campy grandeur and gleeful menace. The Mad Hatter (Hans Eckstein, Gerhard Krysstopher) is a whirlwind of manic charm, while the White Rabbit (Steven Hotchkiss, Gabo Tiongson) scampers with delightful urgency, keeping Wonderland’s chaos in motion. Even minor characters—Tweedle Dee and Tweedle Dum, The Cheshire Cat—are played with such gusto that no corner of the dreamscape feels neglected.  

Music by Janet Yates Vogt and Mark Friedman keeps the production buoyant. The tunes are cheerful, accessible, and designed to lodge themselves in young ears. While some numbers may lack lyrical depth for adult tastes, they more than fulfill their purpose—propelling the story and leaving children humming long after the final bow.  

Pinky Marquez plays the Queen of Hearts.

The production’s greatest strength lies in its balance. REP never condescends to its youngest audiences, offering them laughter and spectacle without compromising on sophistication. There is polish beneath the whimsy, and craft within the chaos.  

If there is a flaw, it lies in pacing. A handful of sequences—most notably the tea party—linger longer than they should, momentarily slowing momentum. Yet these detours never derail the journey.  

In the end, “Alice in Wonderland” succeeds as a family-friendly feast of imagination. It captures Carroll’s playful absurdity, frames it with theatrical finesse, and reaffirms the enduring joy of live performance. Not flawless, but utterly charming, it is a welcome addition to REP’s repertoire—one that bridges generations with color, curiosity, and wonder.  

Its creative team includes Lawyn Cruz, set designer; Lou Cagalingan and Kath Fernando, assistant set designers; Hershee Tantiado and Phillip Domingo, costume designers; Stephen Vinas, choreographer; Deo Dela Cruz, assistant choreographer/dance captain; John Batalla, lighting director; GA Fallarme, projection designer; Phoebe Bitoon, musical director; and Johann dela Fuente, hair and makeup designer.