MAGICAL STAGING TRUMPS INFERIOR SCORE
The Shaw Festival in Niagara on the Lake has pulled out all the stops on it's glittering new production of
Lewis Carroll's ALICE IN WONDERLAND. This new version adapted for the stage by director Peter Hinton incorporates newly composed music by Allen Cole. While often an asset, the music can also be a hindrance to this often mystifyingly magical production.
Hinton has done his requisite research in creating an Alice for the 21st Century, but at times the play gets bogged down in the vastness of trying to cover the many characters that Alice encounters. Mr. Hinton cleverly tells the story as a play with music, told in the styles of music hall pantomime combined with burlesque and traditional American musical comedy. The score often provides a shimmering ambience to the adventure, while at other times comes across as a poor attempt at musical comedy, with many of it's leading players not up to the vocal requirements needed.
Exquisite projections by Beth Kates and
Ben Chaisson propel the action in a cinematic way that never interferes with the lovely stage pictures that are framed by Eo Sharpe's fairy tale Victorian settings. Alice's adventures must have her shrink in size and then tower larger than the proscenium, all achieved by projections that seamlessly meld with Alice herself on stage. The audience gasped at the beauty of Alice swimming underwater in a sea of her own tears, thanks to wonderful flying effects by Foy.
Tara Rosling as Alice was spot on as the ever inquisitive youth who never seems to fit in, both figuratively and physically. Her befuddlement at her predicament was balanced by her strong will for what is right and wrong. Her initial entrance on a row boat was picture perfect, watching the boat effortlessly glide across the water as Charles Dodgson (aka
Lewis Carroll) told his imaginary story of Alice's tales down the rabbit hole.
Costumes by William Schmuck are detailed and whimsical, especially in the many animal costumes, with highlights being those of the frogs and duck. And speaking of animals, Hinton has devised an incredible portrayal of the caterpillar, where 6 semi-recumbent men gesticulate in brilliant fashion.
Whereas the first act flies by in magical wonder, the second act is bogged down with the overly long story of the Queen of Hearts and could benefit from some judicious cuts. While costuming was colorful, the production numbers added little. The queen is cleverly played by Moya O'Connell, injecting the right amount of regal exasperation. Meanwhile beefing up the Mad Hatter scene with a more memorable musical number may have helped the wonderful Grame Somerville's character. Happily he is giving a lovely speech in the second act regarding the beauty of words, as well in their inherent sounds.
Stage veteran
Jennifer Phipps was luscious as
The Cheshire Cat- cleverly portrayed through multiple projections around the stage. Her facial expression and wide eyed puss were endearing.
Many may consider the epic of ALICE IN WONDERLAND beyond the scope of being stageable, but The Shaw Festival has put forth a valiant effort in this Herculean task. The production shines in its technological achievements, but more so when the story telling is simplest and the
Players are allowed not to be outdone by the scenery. In the end, this ALICE should be thought of as a visual feast for the eyes that plays out as a multi-modal piece of modern theatre.
ALICE IN WONDERLAND plays at the Shaw Festival in the Festival Theatre until October 16, 2016. Further information and tickets are available at SHAWFEST.COM or by calling 1-800-511-SHAW.
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