Alice in Wonderland (Octagon Theatre)

Lewis Carroll’s Alice in Wonderland features scenes that could not be staged without busting the budget of any theatre company; except, of course, those in London. The Octagon, therefore, tackles the ambitious story using only imagination and style and it works.

Morgan Lloyd Malcolm’s adaptation brings a sense of purpose for Alice and makes the story relevant to kids today, without resorting to preaching.

Alice (Sarah Vexmar) has such a diffident personality and is so unexceptional a pupil that she has no chance of securing the ultimate honour at her school – looking after the school’s pet rabbit for the holidays. When the rabbit escapes her pursuit takes Alice into a strange realm where the inhabitants share the characteristics of her fellow pupils. Alice’s experiences force her to develop in ways she could not imagine.

Director Elizabeth Newman takes an impudent approach to staging the classic, which perfectly catches the absurd nature of Carroll’s story. Here even keys and bottles have personalities and try to attract Alice’s attention. The staging is remarkably effective – scenes that you might imagine could not be delivered on stage are achieved with apparent nonchalance.

Sarah Vexmar performing acrobatics on an aerial hoop over the stage becomes Alice’s tumble down the rabbit hole. Some of the most demanding scenes are achieved with the simplest props – a series of doors and bottles of different sizes (along with a very committed performance from Vexmar) creates Alice shrinking and growing. Newman knows when to let well alone; the Cheshire Cat is simply a stencil taken from one of the illustrations in the novel.

Typical of the production is Michael Vale’s deceptively simple-looking set. An apparently basic school set turns out to have a revolving wall and trap doors that become the garden of the Red Queen. Simple facemasks and a glorious fur coat for the rabbit ensure the rapid scene chances so vital to the production.

The pace of the show is rapid even breathless to the extent that young audiences unfamiliar with the novel might suffer from information overload and miss some of the plot points. There is certainly no shortage of variety as Barbara Hockaday has composed a wide range of song types, including a very successful Reggae, that are performed live by the cast.

Perhaps the most successful update is Russell Morton and Jack Quarton interpreting Tweedledum and Tweeledee as a clueless pair of rap stars. That their rap is actually a faithful version of "The Walrus and the Carpenter" is all the more impressive.

Even if the young audience members are not able to grasp all of the storyline they cannot fail to be drawn in by the enthusiastic approach of the cast. Before the play starts they are wandering around, in character, chatting and inviting children to meet the rabbit.

The young audience respond to the antics of the cast, sitting in the audience and dashing around the auditorium even up to the rafters, with a high level of participation.

Take a trip to Bolton, as the Octagon's Alice in Wonderland is a cheeky and lively version of a classic that is a very welcome addition to the festive season.

Alice in Wonderland is at The Octagon Theatre, Bolton until 10 January.