Hedy Weiss: Theater Reviews
A Remarkable Version of ‘Alice in Wonderland’ Performed by the Joffrey Ballet: Review
Stefan Gonçalvez, Amanda Assucena, Jonathan Dole and Victoria Jaiani from the cast of “Alice’s Adventures in Wonderland.” (Todd Rosenberg)
“Alice’s Adventures in Wonderland,” the classic English children’s novel by Lewis Carroll dating from 1865, could hardly be more familiar to audiences of all ages. But the ballet version of the story, as choreographed by Britain’s Christopher Wheeldon — which had its world premiere in 2011 by the Royal Ballet and is now in its Chicago premiere by the Joffrey Ballet — is a wonderfully innovative take on the classic tale.
It unfolds in three elaborate acts that draw on Wheeldon’s ingenious choreography, a scenario by Nicholas Wright and a fascinating score by the British composer Joby Talbot performed by the outstanding Lyric Opera Orchestra, which is ideally led by Scott Speck. There also is grand-scale scenic design by a slew of gifted artists, and a great number of special effects at every turn. Above all this work serves as a terrific showcase for the 46 Joffrey dancers who possess a notably unique gift for going far beyond traditional ballet technique and for invariably endowing this production with their notably exceptional acting skills.
The opening night cast was ideal, with the excellent Amanda Assucena playing the role of Alice, the wide-eyed girl who lives in Oxford in 1862 and follows Lewis Carroll (played by Stefan Gonçalvez, seen here as a visiting photographer) down the rabbit hole. (He then becomes the White Rabbit.) That place is full of crazy, even dangerous creatures, all wonderfully animated by a slew of dancers.
The second act takes Alice to a tea party in the strange world where her intensely haughty and manipulative mother, the Queen, reigns. She is played by the ever-superb Victoria Jaiani, who has a great gift for capturing this character’s sardonic and hilariously manipulative personality. Then comes the work’s third act that begins with the Queen in a state of intensely dangerous fury and ends with a moment during which Alice finally awakes from her crazy dream.
All along the way there are a slew of different personalities at play, plus a great number of dramatic responses with a giant red heart as a symbol of many things. It’s a fantastical world at every turn in this ballet, full of behavior by crazy personalities that have the aura of the real world. And every one of the performers is ideal.
The set and costume design by Bob Crowley is superb, as are the lighting (by Natasha Katz), the projections (by Jon Driscoll and Gemma Carrington) and the puppet design (including a fabulous cat) by Toby Olie.
The show (which has a rotating cast throughout this run) takes you — and Alice — on a crazy journey, with characters full of temper tantrums and more. It might all seem absurd, and alternately both tragic and comic. And the fact is, it even captures something of the essence of our current world.
The show runs through June 22 at the Lyric Opera House, 20 N. Wacker Drive. For tickets, phone 312-386-8905 or visit joffrey.org. You can also purchase tickets at the Lyric Opera’s box office.
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