Booked & Scene

​​Wonder, directed by Taibi Magar, arrives at American Repertory Theatre as a new musical adaptation of R.J. Palacio’s novel about a young boy learning how to exist in a world that is not always kind. With a book by Sarah Ruhl and a pop-inflected score by Ian Axel and Chad King of A Great Big World, the show centers on Auggie Pullman as he enters mainstream school for the first time, forcing his family and classmates to confront questions of difference, empathy, and belonging.

Stars: A Constellation of Care

Alison Luff as Isabel Pullman, Auggie’s mother, is the emotional backbone of this production. From the moment she steps onstage, she brings a grounded presence that elevates the entire ensemble around her. Luff understands exactly how much restraint this role requires, never overselling the emotion, and in doing so gives the show its most honest moments. Her Act 1 number, “You Are Beautiful,” sung to Auggie, is one of the evening’s strongest scenes, not because it is flashy, but because it feels real. It lands as a quiet, deeply loving exchange between mother and son, and it sets the tone for everything that follows.

Kaylin Hedges delivers a standout performance as Via, capturing the complicated experience of being the sibling who is always expected to understand, adapt, and step aside. There is an ease and specificity to her work that makes Via feel fully dimensional rather than simply “the sister.” Her number “Around the Sun” is one of the most relatable songs in the score, giving voice to emotions that are often buried beneath responsibility. Hedges also shines opposite Diego Cordova’s Justin in “Our Town,” a sweet, unforced duet that captures the awkward sincerity of puppy love without tipping into cliché.

Garrett McNally, who played Auggie at the performance I attended, brings a gentle vulnerability to the role, particularly in his scenes with Nathan Salstone’s Moon Boy. Their connection is genuinely heartwarming, and the way Auggie’s confidence grows through this imagined friendship is one of the production’s most successful storytelling choices.

The Village That Shapes Him

The strength of this production extends well beyond its leads. The school staff characters are played with clarity and warmth by Melvin Abston as Mr. Tushman, Raymond J. Lee as Mr. Browne, and Pearl Sun as Ms. Petosa and Mrs. Albans. Their number “Precepts” is a highlight, offering a fuller look at Auggie’s school experience and reinforcing the show’s core values without feeling preachy.

Paravi brings nuance to Miranda, particularly in her scenes opposite Kaylin Hedges. Their friendship arc feels real and thoughtfully developed. The child actors across the board are impressively cast and committed, each bringing a distinct personality to the school environment. Kylie MiRae Kuioka as Summer, Skylar Matthews as Charlotte, and Donovan Louis Bazemore as Jack were particular standouts, making the classroom feel alive and varied. 

Building Auggie’s World

From a design standpoint, Wonder is visually striking. Linda Cho’s costumes do excellent character work, giving each role a clear sense of identity while remaining grounded and believable. Matt Saunders’ scenic design is a major asset to the production, offering a variety of detailed environments that shift fluidly between home, school, and Auggie’s inner world. The kitchen in Auggie’s home and his spaceship bed are especially effective, balancing realism with imagination in a way that feels true to the story. Bradley King’s lighting design consistently enhances the emotional beats of the show, creating strong stage pictures without calling attention to itself. Musically, the orchestra sounds polished and cohesive under the direction of Music Director Ryan Cantwell, providing clean, supportive accompaniment that allows the performers to stay front and center.

A Softer Landing Than Expected

The biggest hurdle Wonder faces is its audience focus. This is a show written for young viewers, and that intention shapes nearly every creative decision. As an adult without children, much of the storytelling felt overly simplified, with themes and conflicts presented in ways that leave little room for ambiguity or deeper exploration. While that clarity works for its target audience, it limits the show’s impact for adults who are not experiencing it through a family lens.

The choice to place the children in seventh grade also feels misaligned with how the characters speak and interact. Many of the conflicts and conversations read younger, more in line with elementary school dynamics, which is especially noticeable in how easily conflicts resolve by the end of the show.  Some of the songs would benefit from clearer structure and stronger endings. Several numbers faded out without a defined button, leaving audiences unsure when applause was appropriate. 

Additionally, while the scenic design is strong, scene transitions occasionally slowed the pacing. There were moments where the flow of the story stalled as panels continued to move on and offstage, drawing attention to the mechanics rather than the narrative.

Choosing Kindness, Clearly and Openly

Wonder succeeds when it leans into sincerity and pushes forth its main message. The show is delivered with genuine care, supported by a strong cast and thoughtful design. Alison Luff’s anchoring performance, Kaylin Hedges’ depth, and a cohesive ensemble make the experience worthwhile. For families and younger audiences, this is a moving and delightful night at the theater. For adults without children, it may feel slight, but its heart is undeniably in the right place, reminding us that kindness, even when plainly stated, still matters. Wonder is playing at American Repertory Theatre through February 15, 2026.

📸: Hawver and Hall