In its latest production, the Theatre Arts Society (TAS) has truly outdone itself, delivering an ambitious and delightfully bonkers rendition of Alice in Wonderland with a modern, university twist. Directed by Corey Lee and Dan Casey—two passionate TAS veterans—this panto is a testament to their creative vision and collaborative spirit on the brilliant and hilarious scenario written by Peter Vetere.
This isn’t your traditional Alice. Set on a university campus, Alice is reimagined as a fresher navigating a bizarre journey after accidentally consuming a space brownie at the Queen of Hearts’ birthday party. What follows is a hilarious trip, both literal and figurative, through a Wonderland filled with eccentric characters, all students from the party reimagined in this trippy, parallel world. Corey explains “in the real world everyone kind of puts on this mask but in Wonderland that is everyone true self, weird and fantastical self”. The story climaxes with a powerful message: embracing your inner weirdness and celebrating uniqueness, an ending that feels refreshingly poignant for a panto. Dan as a “self-acclaimed weirdo” is very proud to share that message: in his own words “everyone is different and weird in their own way and that’s not something people should be judged for but rather celebrated”.
Corey and Dan bring unique strengths to the production. Corey, already experienced from directing TAS’s The History Boys, stepped into this production to craft something monumental. Dan, with his boundless enthusiasm for TAS’s socials and shows, championed the project with a deep personal connection to its message. Together, they’ve orchestrated a show that’s three times the scale of The History Boys, blending their talents with the expertise of choreographers Talullah and Gabriel, vocal coach Christina, and an energetic cast and crew.
Their leadership shines in their ability to trust their team, which includes seasoned TAS members and fresh faces alike. This collaborative approach has resulted in a vibrant, dynamic cast of 22, where everyone sings, dances, and acts with remarkable energy.
Visually, the production is stunning. The set, a colossal five-piece creation, is the largest TAS has ever attempted, brought to life with the help of Lakeside Theatre technicians Harry and Samuel. A standout feature is a human-sized, talking toilet puppet—a quirky nod to the show’s irreverent humour.
Costumes, designed under Dan’s direction, take inspiration from 60s hippie aesthetics, creating a kaleidoscope of colours and whimsical designs. A true feast for the senses.
The caterpillar, envisioned as a stoner-hippie, provides some of the show’s most laugh-out-loud moments, especially in a scene where he gifts Alice magical items. This scene—a mix of dancing on the line of appropriateness and joke-a-minute hilarity—is a standout. According to Dan this scene is “dancing on the line of what’s appropriate”.
Musically, the show features 15 famous pop songs, interwoven with TAS’s own humorous spin. A standout moment is the classic Christmas song finale, bringing the entire cast together for a heartwarming and celebratory close.
The production also pushes the boundaries of traditional panto. A highlight is a scene involving audience participation, where a random man is invited on stage and becomes a recurring part of the show, creating unpredictable and hilarious moments each performance. This break from convention underscores the creative risks Corey and Dan have embraced, “we bring that man up on stage and he is a part of the show, which is something that we don’t do normally in Panto,” explained Corey. The night I went to see the show, an older man “Alan” was chosen from the public by the flirtatious “Dame Cotton Tail” and playfully connected with the comic relief rabbit, amazingly interpreted by Naiden James.
The sheer scale of the production and the collaborative efforts involved are remarkable, especially considering the team managed it without a production manager—a typically crucial role. Yet, thanks to the dedication of a talented cast and crew, they’ve created something extraordinary. Writer Peter’s witty, original script serves as the backbone of the show, perfectly capturing the chaotic and nonsensical spirit of Wonderland while injecting clever references to university life. The brilliant script is “peter’s baby with few little jokes from us” said the directors.
Corey and Dan are quick to credit their success to the incredible talent and hard work of everyone involved, from the cast to the backstage crew. Special thanks go to the choreographer Tallula Ashdown and Gabrielle Crook, vocal coach Christina Davies, and technical team, whose contributions elevated the production to new heights. The team also sold handmade items to raise money for Children in Need.
TAS’s Alice in Wonderland isn’t just a panto; it’s a celebration of creativity, individuality, and community. Corey, Dan, and the entire team have transformed a classic tale into a uniquely TAS experience. Packed with laughs, music, and heart, it’s a production that leaves audiences entertained and inspired. If you haven’t seen it, you missed your chance to tumble down this unforgettable rabbit hole.
Anyway, if you loved it or missed it you could see the next piece written, directed, created, dreamed and nurtured by Peter Vetere “Zarbopulon 5” on march the 20th at the Lakeside Theatre.
Photos taken during rehearsals by Peter Vetere.