ALICE'S ADVENTURES IN WONDERLAND
ALICE'S ADVENTURES IN WONDERLAND Bristol Old Vic
Running Time: 2 hours with one interval of 20 minutes
Review by Stewart McGill - 6/12/04
Innovative, inventive, dynamicOn of the year's most innovative shows in British theatre in my opinion was Melly Still's Beasts and Beauties at this address proving that theatre for younger audiences can be as inventive and dynamic as adult work. She follows this journey into the darker side of fairytales with Artistic Director, Simon Reade's new adaptation of Alice's Adventures in Wonderland.
This is quite a sensation and belongs in the theatre of Robert Lepage and Robert Wilson as Still re-imagines Alice as a surreal and contemporary exploration of childhood pains, passions and dilemma. Melly Still and her company never tire in their imaginative and intensely physical staging which banishes Tenniel inspired stagings to the museum of theatre history. I felt like I was experiencing the mind of Alice for the first time after years of day-glo visuals. Celia Meira's is an unconventional Alice, light years away from the traditional portrait and compelling in her journey to wonderland that chills as well as fascinates. In this dimension the Hatter is straight jacketed and many of the inhabitants show clear signs of questionable mental agility! What Still's thrilling work does is force a total reassessment of the work as a contemporary piece enabling audiences to react to the new rather than delight at nostalgia, of which there is still too much in our theatre.
The ensemble of eight not only play all the roles but manipulate the fluid design concept and musical integration (composer Adam Cork). With animation and puppetry, video and physical staging the Bristol Old Vic confirm that they are very serious about the creation of work for family audiences and it is given the highest priority in programme planning.
This is a disturbing Alice and towards the close of the show becomes quite terrifying before a moving epilogue reminiscent of the Nunn/Caird Peter Pan of some years back. I wondered if, perhaps, some of the younger children present may have found the content too much the stuff of nightmares and, believe me, seeing this show is a shock. Audiences looking for a traditional Christmas show should avoid King Street but if theatre at the cutting edge, treating children as intelligent audiences and daring to reinvent so called classics for a new generation is what is called for, this is a show to join Grimm Tales and Beasts and Beauties in its stunning conception.
Cast: Alice: Celia Meiras, Old Canary/Caterpillar/King/Lobster: Edward Bennett, Dodo/Cook/Seven/Mock Turtle: Howard Cogins, Lory/Dormouse/Two/Alice's Daughter: Sarah Corbett, White Rabbit/Young Canary/Fish Footman/March Hare: Richard Dempsey, Duck/Chesire Cat/Gryphon: Matt Rawle, Eagle/Frog Footman/Hatter/Five/Lobster: Kevin Wathen, Queen/Sister/Mouse/Baby/Pig: Kelly Williams.
Creative Team: Director/Designer: Melly Still, Composer and Sound Score: Adam Cork, Lighting Designer: Bruno Poet, Co-designer: Katie Sykes, Sound Co-ordinator: Jason Barnes, Puppeteer: Marc Parrett.
2004-12-08 11:31:35