A Review of "Alice in Wonderland"

The following appeared in the MRT on April 18th.

"Alice in Wonderland"

The delightful, provocative Pickwick production of "Alice in Wonderland" at MCT started with a daring evocation of Lewis Carroll's dark subconscious. Many in the audience were brought up on the familiar Disney version of this story, so they were taken aback by the vision of Lewis Carroll staring at the female shadow dancers projected onto a screen at the beginning of the show. Tanner Hermann showed a subtle, pained elegance as Carroll in the opening scene. He reflected the tortured soul of a genius whose desires were so controversial that he both hid and fulfilled them within what is justifiably regarded as one of the most unique literary worlds ever created.

Erick Beeck's set was brilliant: the best stage rendition of a vaguely nightmarish dream world that I have seen. It consisted of platforms, various trap-doors and extraordinary trees that became animate as massive puppet-like figures manipulated by the actors. A desk was placed at an impossible angle, perhaps reflecting Carroll's mind as he used the powerful drug laudanum to create Alice's dream. Eddie Taylor's sensuous lighting -- flooding the stage with both real and dreamlike colors -- worked in organic harmony with Beeck's design. Both designers were obviously inspired here.

As Alice, Liz Livingston was perfectly cast. Possessing a fairy-like, light-footed grace, she flitted around the stage from dream to dream as if she were no more real than the bizarre characters she engenders. Rebecca Crow's costume design for Alice, as for the rest of the characters, deftly combined those unforgettable book illustrations with a more modern sensibility. Alice's hair was free-flowing, and she often peered, ragamuffin-like, through dark brown strands.

While the whole cast was delightful, several deserve special mention. Sam Glinsmann as the Caterpillar succeeded in combining languid movements with the insect's desperate need to be near his hookah. Kaitlin Miller was a mischievous Cheshire Cat. Erin Franks and Meg Jones were memorably bizarre as the Duchess and the Cook, while Jonathan Ramirez was a suitably insane Mad Hatter. Michael Hagemann rendered Humpty Dumpty's melancholy to a tee. Waylon Warren and Ryson Sparacino as Tweedle Dum and Tweedle Dee were spookily identical.

In the role of the Queen of Hearts, Mark Gabaldon stole the show at the end. He played this obnoxious, terrifying character with just the right dose of realism to make her believable. Connor Franks raced around the stage with a suitably futile haste as the White Rabbit.

Several weaknesses were present. First, the English accents were suspect -- I was born and raised in England, and I never heard "cat" pronounced as "cart." Second, voice projection was a little off at times. Third, the end of show was a little confusing as the moment in the book at which Alice shouts "you're nothing but a pack of cards" was replaced with the characters deposing the Queen and replacing her with Alice.

Yet these are minor points. If you get the chance, go and see this production. It brings something truly new to one of the oldest children's stories. Well done director Bill Williams, the rest of the design crew and especially the talented young people in the cast.

For tickets to "Alice in Wonderland" contact Midland Community Theatre at http://www.mct.org or call 570-4111.