The Australian Ballet in Alice in Wonderland

 

THE AUSTRALIAN BALLET IN ALICE IN WONDERLAND

CAPITOL THEATRE FEBRUARY/MARCH 2024

 

The Australian Ballet first presented Christopher Wheeldon’s Alice in Wonderland in 2017. Not a traditional classical ballet, it is bright, bold and dazzlingly eye catching, with smoke haze, projections, puppetry ,tap dancing and more . It is too big to fit into the Joan Sutherland Auditorium at the Opera House, hence the Capitol. Audiences are flocking to it and treated to superb dancing.

The story has been changed in parts, with the addition of a romance, and there is a contemporary outlook at the end with the use of a mobile phone for example.

The set designs and costumes (Bob Crowley) are sensational harking back to the Victorian era but also contemporary. Much of the design harks back to Victorian times, with the set for the tea party like a Victorian era cut out paper theatre.But then it is also updated to now. Note there is strobe lighting and smoke haze used.

Joby Talbot’s score is strong, sharp and eloquent, terrifically played by Orchestra Victoria under the baton of maestro Jonathan Lo. Lighting by Natasha Katz and projections by Gemma Carrington and Jon Driscoll are exemplary.

Yes we see the Drink Me / Eat Me potion and cake, making everything shrink or grow larger A major design theme at times is the doors that Alice can/can’t open , and the falling down the rabbit hole is swirling and causes vertiginousness .Large life-size paper boats at one point are used for transport, there is an art deco projection of Alice’s tears and  perambulatory triangular trees.

The dancers become a pack of playing cards or flamingos and there are cute baby hedgehogs that are used as croquet balls .At one point the flower dancers come in and through the audience, scattering petals and confetti . This section in the garden is very reminiscent of the Waltz of the Flowers from The Nutcracker.

Rina Nemoto as sensitively depicted Alice was splendid , with refined arabesques ,creamy pirouettes and blithe jumps and was at times filled with gentle poise particularly in the pas de deux with the Knave .In this version Alice is a bit older than in the original - she is a teenager and the work contains the themes of desertion, unrestraint ,loneliness ,exclusion and devotion.The murky atmosphere of the original story are not ignored .

Mason Lovegrove as Jack /The Knave was compelling ,with tremendous technique , most affectingly pleading with the Queen of Hearts for his life.

Lucien Lu as the scurrying White Rabbit was poignant with tender glances, restless leg scratches and agitated twitches.


 Davi Ramos as the visiting Raj and the slinky caterpillar (at one point with a line of women en pointe) was most imposing.

The exuberant tap dancing Mad Hatter was terrifically danced by Jarryd Madden. The set for the tea party was like a Victorian era cut out paper theatre.

The puppetry and effects for the Cheshire Cat were glorious.




Jill Ogai as the Queen of Hearts might perhaps give the impression of being petite , but she has a towering , unforgiving , menacing Presence .Her carapace opens to reveal her cowering rather subservient king, and her entourage of the red guards and the Executioner is coldly scary .She’s maliciously malevolent , with flowing arms and luscious epaulement at one point doing the splits , the sliding to the feet of a petrified courtier , insisting he gives her a sweet .This then leads to the ‘ Tart Adage’ , a reworking of the Rose Adagio .

The ballet ends on a contemporary note and we are given time to muse on Alice’s adventures .

Alice’s Adventures in Wonderland was at the Capitol Theatre, Sydney until 5 March. It will then head to Arts Centre Melbourne’s State Theatre (15 to 26 March).

Running time – allow three hours and there are two intervals.

https://australianballet.com.au/performances/alices-adventures-in-wonderland

 

 

 

 

 

 

 

 


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