An eclectic spectacle of technicolor creation
Follow the White Rabbit – and the Royal Ballet – down the rabbit-hole into a weird and whimsical Wonderland of choreographer Christopher Wheeldon, composer Joby Talbot, and designer Bob Crowley’s creation. Weaving the classical with the contemporary in his characteristically eclectic style, Wheeldon translates a Wonderland of wordplay and rhyme into one of diverse dance styles and spectacular theatricality that welcomes both the delightful and the disturbing from Lewis Carroll’s timeless tale.
Alice’s adventures follow the same style as Carroll’s story: a series of vignettes filled with curious, colourful characters, but the trial lies in how to thread these varied and vibrant scenes together into three acts with an arc to follow. Wheeldon accomplishes this with the ticking hand of time as a motif, from the White Rabbit’s pocket-watch to Joby Talbot’s percussive, characterful music, and this Wonderland is wound clockwise into a pacey, punchy performance that whirls us through in whistle-stop time, but it wouldn’t work without an Alice to hold our hand. Lauren Cuthbertson, recreating the role created for her, plays Alice free of the traditional ‘twee’, instead a curious teenager whose flat-footed tantrums and lively curiosity perfectly contrast the fluid lines and quick turns of her technical performance.
Wheeldon’s Alices have to master many a move once in Wonderland: Continue reading “Review: Royal Ballet’s Alice’s Adventures in Wonderland”