Curiouser and curiouser …
Piling into a small, intimate studio, the audience drinks in their new surroundings. The set is made up of enormous books, with one open at the beginning of Lewis Carroll’s iconic novel. After a brief prologue, the lights dim and the performance begins…
The first page of the open book disappears, pulling the audience down the rabbit hole with the drawing of Alice that was on it. We have been transported to the unknown and as Alice emerges where the page once was, it becomes clear we are now a part of the book. We have been thrown into the story with a (seemingly upside-down!) front row seat, to witness the iconic scenes.
For those of you who have never read Alice’s Adventures in Wonderland, or indeed experienced a film or theatre adaptation (have you been living in a hole?), allow me to provide a brief insight:
The story centres around a young girl called Alice, who one day falls into a mysterious fantasy world with weird and wonderful creatures. In this enchanting tale, anything can happen. We follow Alice in her search for identity as she struggles with the de-familiarisation of her new environment, with familiar concepts such as “lessons” being made strange. It’s a place where it is possible to wrong Time, where pepper is the cause of a foul temper, and sentencing is delivered before a verdict. Carroll’s ponderous tale is one of childhood and all the curiosity and confusion that come with growing up.
In a succinct summary, V. A. Pearn’s adaptation is youthful and authentic, keeping true to the original story we all know and love. Joe Leat and Rob Salmon create a captivating world of madness and fun, with the youthful cast adding to the childhood innocence the story portrays.
Lynsey Roper’s portrayal of Alice is fresh and flawless, while Harry Salter’s remarkable singing voice impresses in his rendition of the Mock Turtle. However, it’s Noah Seeley who steals the show with his wonderful performance sending the audience into bouts of laughter as the Mad Hatter.
The directors have done a fabulous job casting for this youth play, with all members producing fluid and convincing presentations of their characters. One or two characters go rather overboard with their accents, which at times come across as slightly annoying. However, this could also be perceived as adding to the lunacy of Wonderland, which is genius! Overall, the cast are terrific and their youth is what enables the audience to enter Wonderland with a child’s sense of curiosity.
There is a good use of space on set, with various levels being explored, and the lighting is kept simple. The use of props is minimal, yet effective and necessary as they add to the delivery of various character portrayals by aiding in setting the scene for the audience. What I find most gratifying though, are the costumes (designed by Faby Pym) and set design: white with marker pen and paint detailing (by David Thomas). Though seemingly understated, what appeals to me is the hat tip reference to the original drawings that appear in the early editions of the book. Whether intended or not, Pym and Thomas create something elegant, effective and authentic.
An 82-year-old, leather-bound copy of Carroll’s nonsense adventure book is a possession I hold most dear. It’s not surprising then, that I came to this production slightly apprehensive, but The New Wolsey Youth Theatre doesn’t disappoint! The hour-long display delights the audience by producing a dynamic performance which conveys all the madness the book deserves. Although the production is missing a few iconic scenes and characters, this doesn’t detract from a thoroughly enjoyable evening of light entertainment. Adults will appreciate the satire, whilst children will take pleasure in all the laughter and silliness that ensues.
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Lizzie Semproni, undergraduate at University Campus Suffolk
