‘Alice in Wonderland’ @ Shakespeare Dallas
—Rickey Wax
I have to admit, when I saw the curtain time was 8:30 p.m., I breathed a sigh of relief. June in Texas has a way of making even the most devoted theatre patron question their life choices, but thankfully the blaring evening sun had retreated before it could dry us all out like raisins. By the time the sun set over Samuell-Grand Amphitheatre, a welcome breeze drifted through the bushes, setting the perfect stage for an evening that proved to be every bit as curious as Alice’s journey through the looking glass.
Originally penned by Lewis Carroll in 1865 as Alice’s Adventures in Wonderland, the story began as an impromptu tale spun for the daughters of his friend during a leisurely boat ride along the River Thames. Carroll later expanded the world with Through the Looking-Glass, and in 1932 Eva Le Gallienne and Florida Friebus merged the two novels into what has become the definitive stage adaptation. Their version preserves Carroll's delightfully illogical language while reminding audiences that Wonderland is less about fantasy than it is about the strange logic of growing up.
Under the direction of Natalie Young, Shakespeare Dallas reimagines that classic through an unabashedly modern lens. This isn’t the prim Victorian Wonderland many may expect. Instead, it feels as though RuPaul’s Drag Race, ballroom culture, opera, and Shakespearean players all crashed into one fabulous fever dream. The production embraces camp, creating a Wonderland that feels both timeless and unmistakably contemporary.
Scenic designer Uldarico Sarmiento wisely leans into theatrical simplicity. Makeshift platforms, movable hedges, and whimsical handheld props, like bedazzled umbrellas cleverly repurposed, transform the stage with the ingenuity of a traveling troupe, allowing imagination to fill in the gaps. Katelyn Jackson’s costume designs are a kaleidoscope of color and personality, perfectly complementing the production’s drag and ballroom-inspired aesthetic. I especially enjoyed Savannah Yasmine Elayyach'‘s sequined Caterpillar, whose glittering entrance felt like it sashayed straight out of Studio 54, and Jeff Garlish’s unforgettable Humpty Dumpty ru-veal—but I’ll spare you the surprise because it’s one of the evening’s biggest laughs.
Lori Honeycutt’s washes of saturated magenta, paired with bursts of strobe lighting, continually reshape the world around Alice, making even the simplest set pieces feel inventive. At one particularly magical moment, a handful of fireflies wandered into the amphitheater completely uninvited. Ordinarily, I’d call that a distraction. Here, they became honorary members of the ensemble, adding an accidental touch of enchantment that no lighting designer could have planned.
Music director and composer Fernando Hernandez layers operatic textures throughout, elevating
several scenes beyond simple dialogue. The standout is “The Walrus and the Carpenter,” which unexpectedly morphs into a dazzling production number that feels as though Liza Minnelli and Joel Grey wandered into Wonderland by way of the Kit Kat Club. It’s gloriously over-the-top and perfectly at home in this delightfully unhinged interpretation.
Young stages each character’s entrance as a theatrical event unto itself. Garlish’s Humpty Dumpty treats his appearance like a ballroom category worthy of straight tens, while Tommy Stuart embraces the delightful absurdity of the Mad Hatter, leading an appropriately madcap tea party that is as zany as it is infectious. Elayyach commands attention as the Caterpillar, strutting onstage with the confidence of a top model, her runway stride punctuated by a dazzling pair of hot pink boots.
The ensemble throws themselves headlong into Natalie Young’s heightened vision, embracing its theatricality. Lily Gast anchors the chaos beautifully as Alice, capturing the physical mannerisms of an inquisitive young girl. Her softened, youthful vocal quality allows Alice’s curiosity and innocence to shine naturally amid the wonderfully eccentric world swirling around her.
This production proves that Alice in Wonderland continues to evolve with each generation. Shakespeare Dallas has created a version that delights children with colorful spectacle while giving adults plenty to appreciate through clever theatrical references, camp sensibilities, and inventive staging. It honors Carroll’s playful spirit without becoming trapped by tradition, inviting audiences of every age to step through the looking glass and embrace the beautiful nonsense waiting on the other side.
WHEN: June 19-July 17, 2026
WHERE: Samuell-Grand Amphitheatre, 1500 Tenison Pkwy, Dallas
WEB: www.shakespearedallas.org
