If Lewis Carroll had imagined Alice in Wonderland as a high-flying, gravity-defying dreamscape, Cirque Alice might’ve been the result. Currently dazzling audiences at Brisbane’s QPAC Concert Hall, this world premiere invites viewers to fall headfirst into a reimagined Wonderland— daring with a dazzling roster of international circus artists.
Guiding us through this kaleidoscopic adventure is Layla Schillert from Australia as Alice. She’s a magnetic presence—part dreamer, part heroine—anchoring the madness around her with quiet strength and poise. There’s no need for dialogue here; Schillert’s expressive operatic singing performance makes the story clear, as she encounters the delightfully unhinged inhabitants of Wonderland and what inhabitants they are.
Jeff Hobson from the United States embodies the Mad Hatter with a show-stealing mix of eccentric charm, mischief, and a magician’s flair. His comedic timing, sleight of hand, and theatrical charisma light up the stage every time he appears—delivering some of the biggest laughs and gasps of the night.
In one of the show’s early standout moments, The TT Boys, Tomas Teka Alemu and from Ethiopia tumble in as Tweedle Dee and Tweedle Dum with their explosive Icarian Games act, launching each other into the air with pinpoint precision and cheeky charm. Moments later, the balance of the world—literally—rests on the shoulders of The Ramadhani Brothers, Fadhili Ramadhani and Ibrahim Jobu, hailing from Tanzania, portraying the Red and White Knights in a mind-bending human balancing act that drew audible gasps from the crowd.
One of the most visually poetic sequences belongs to Oleg Tatarynov from Ukraine, whose aerial pole routine transforms The Butterfly into a symbol of freedom and elegance. The March Hare takes on a more kinetic form through Alexandre Lane of Canada and his masterful Cyr wheel act, spinning across the stage like time itself.
The Queen of Hearts—played with commanding power by Maria Sarach of Russia —delivers a performance that is equal parts regal and raw strength, showing off remarkable hand-balancing prowess on the removal poles.
Few moments are as hypnotic as The Caterpillar, portrayed by Mongolian contortionists Tsetseglen Odgerel, Bayarmaa Ganbat, Baigalmaa Chuluun, and Dolgorsuren Ganbold, whose seamless coordination makes their act feel more like a living sculpture than a performance.
Comic relief takes an unpredictable turn with William Estuart Mena Gonzales of Peru as the Dormouse, whose rola bola act balances humour and danger with one wobbly platform at a time.
Meanwhile, Maria Romanenko and Alexander Vakar from Ukraine, as a pair of flamingos, soar through the air in a lyrical duo aerial routine that softens the chaos of Wonderland with a touch of grace reminiscent of The Greatest Showman’s aerial piece. Additionally using the mouth piece apparatus to further accentuate their strength and chemistry.
There’s also high-speed thrill with a romantic edge from Leandro Zeferino (Brazil) and Anastasiia Vashenko (Ukraine) —the roller-skating Royals—who spin and swirl across a tiny platform in a blur of sequins and centrifugal force.
The creative vision behind Cirque Alice is bold, cohesive, and refreshingly original. Directed by Ash Jacks and Kirsty Painter, the show combines spectacle with storytelling. Choreographer Dane Bates weaves local talented dancers—Abby Lennon, Charlee Danilczak, Kaylee Smith, Gabriel Herrera, and Lachlan Greenland—seamlessly into the fabric of the show.
Costumes by Angela Aaron reinvent the iconic characters with flair and fantasy, and puppetry by Unit 9 (UK) adds surprise appearances that deepen the dream-like world. The original score, composed by Martin Raabe-Olsen and Marius Christiansen from Norway, lends emotional depth, while live violin by Darius Thompson (UK) brings warmth and immediacy to every scene in addition to the incredible Concert Hall organ being played so powerfully.
Cirque Alice is more than a circus show—it’s a wonderland of its own making. With a cast spanning continents and a story told through movement, imagination and comedy this production is a powerful reminder that awe, artistry, and adventure speak a universal language. Catch it before the rabbit hole closes.
TICKETS
Now playing at the Concert Hall, QPAC until 22 April
All images supplied.
The Fame Reporter 