When Alice in Paradise opens this November, audiences will see far more than a whimsical retelling of Lewis Carroll’s beloved story. They’ll witness a production that dares to imagine a world where theatre becomes a tool for empathy, inclusion, and social change, brought to life by the powerhouse performer at its centre, Lisa Rodrigues, who steps into Alice’s iconic blue dress with a voice, spirit, and emotional clarity entirely her own.
Produced by Raëll Padamsee’s ACE Productions, choreographed by Shiamak Davar’s Victory Foundation, and directed by Craig Dequadros, Alice in Paradise brings together 150 children, from mainstream schools as well as NGOs such as CSED Agripada, ADAPT, Pehchaan, My Udaan, Muktangan, and Seva Sadan, to create a world where diversity, equity and inclusion (D.E.I.) aren’t themes; they’re lived realities.
And at the heart of this world is Lisa, a self-trained singer, lyricist, and vocal arranger whose journey with Alice has been as transformative for her as it hopes to be for the children watching. “This character shaped my childhood. Now I get to shape someone else’s.”
For Lisa, stepping into Alice wasn’t just about portraying a familiar character; it was about reclaiming the wonder that defined her own childhood.
“Alice had such an impact on all of us growing up,” she says. “Now, I get to use this character to talk about issues that matter today. I’m singing about things children are actually experiencing — screens, pressure, connection — and hopefully creating the kind of impact Alice created for me.”
Her musical instincts shaped the reinterpretation in unexpected ways. Lisa not only performs the songs — she rewrote the lyrics, reimagined melodies, and adapted popular tunes into something children and adults would immediately connect with.
“Music connects everyone. So we rewrote lyrics to familiar tunes. They’re catchy, emotional, and meaningful and I think people will walk out singing them,” she laughs.
Fantasy meets reality
Unlike traditional adaptations, Alice in Paradise isn’t just a plunge into a rabbit hole; it’s a dive into the realities of modern childhood.
Here, Social Media Land is glamorous until it isn’t. Followers equal validation until Alice learns they don’t equal connection. And Lisa has felt this shift personally.
“Once you realise followers don’t mean friends, it hits you. Even I’ve reduced my own screen time after internalising what this play says,” she admits.
It’s this blend of fantasy and honesty that gives the production its emotional heartbeat.
An inclusive cast
The rehearsal room for Alice in Paradise is a riot of ages, abilities, energies — and pure joy. Lisa describes it as one of the most enriching artistic spaces she’s ever worked in.
“We have 3–4-year-olds, teens, adults… everyone. Kids in wheelchairs doing choreography. Children from NGOs teaching me hook steps I forgot!” she laughs. “There are no filters with them — everything they say is pure and honest.”
One moment stayed with her: “After a technical rehearsal, the kids came running to tell me how well I sang and how much they enjoyed dancing with me. One girl even wrote me a little note. That really touched me.”
Toughest role
Audiences who know Lisa from her thunderous Whitney Houston tributes or her vocals in Kho Gaye Hum Kahan are about to see a completely different artist.
This time, singing is only one thread in a much bigger tapestry.
“This is my first role where acting is the focus. I’m jumping on chairs, running across the stage, switching from dialogue to live singing to interacting with kids. It’s physically intense. Vocally intense. Emotionally intense.”
There are no retakes. No breaks. “For one-and-a-half hours, I have to be Alice. If someone forgets a line, you have to catch it, stay in the moment. It’s a whole other game.”
And somewhere in this whirlwind, Lisa discovered a new part of herself. “I didn’t realise how much I love acting. Every day the character evolves — a gesture, a tone, a childlike moment. It’s been surprising and beautiful.”
Journey of curiosity
Alice tries, fails, tries again, learns, and realises, and Lisa recognises her own story in that arc. As a self-trained artist, she built her musical identity through experimentation rather than formal instruction.
“I didn’t even know what harmonies were,” she laughs. “I learned by ear, sat on YouTube for hours, figured things out myself. That journey — discovering harmonies, discovering I could write lyrics — that’s Alice’s curiosity in me.”
Today, she arranges full vocal pieces, writes lyrics, sings across genres, and brings that fluidity into this production.
Lisa credits the show’s scale and emotional depth to the collaboration between Raëll Padamsee, Craig Dequadros, and Shiamak Davar’s Victory Foundation.
“Raëll set the tone and took care of our characters. Craig wove the story beautifully and worked closely with me to integrate the music. And then Shiamak’s team stepped in and elevated the entire production with choreography for 150 kids. Seeing it all finally come together on stage is magical.”
Takeaways from the play
For Lisa, this show isn’t just entertainment. It’s a reminder. A reminder that fantasy can illuminate truths. That connection is deeper than a screen. That paradise is not a place, but a feeling.
The two moments she can’t wait for audiences to see? “The moment Alice finds ‘True Paradise’, the stage transforms beautifully. And the ending… people will clap, sing, chant. They’ll walk out of the auditorium singing.”
“I hope they see Alice, not Lisa.”
For someone known for her voice, Lisa hopes this show reveals her heart. “People think of me as a singer. But here, they’ll see Lisa the actor, Lisa the performer. Hopefully, they won’t see me at all. They’ll see Alice.”
And when asked what paradise means to her today, she says, “Doing what you love with the people you love,” she smiles. “That’s paradise.”
