Alice in Wonderland
Hannah Playhouse, Cnr Courtenay Place & Cambridge Terrace, Wellington
07/04/2019 - 10/04/2019
Regent Theatre, The Octagon, Dunedin
12/04/2019 - 12/04/2019
Production Details
AN ENCHANTING BALLET
Complimented by one of Tchaikovsky’s most famous scores, ”Alice In Wonderland” tells the story of a young girl who is whisked away to a magical world of wonder. Falling through a rabbit hole, she meets magical creatures both strange and mysterious on her adventure to find her way home. Melbourne City Ballet’s Michael Pappalardo (Artistic Director) and Brendan Bradshaw (Artistic Associate) pay homage to the well known novel by Lewis Carroll.
Melbourne City Ballet will entertain children and adult alike as they tour this work to 15 venues in New Zealand and over 45 venues across Australia.
“I’m so delighted to be bringing this ballet to New Zealand, my second home, having spent over 10 years of my career at the Royal New Zealand Ballet. It is a dream come true to stage this fantastic new ballet across the country” Brendan Bradshaw (Artistic Associate).
Performances are:
-
Sunday 7 April, 5.00pm
-
Wednesday 10 April, 7.30pm
Prices*: Adult $47.50; Student (with ID) $37.50; Senior Citizen (65+) $37.50; Group of 6 or more $37.50 per person *Service fees may apply.
Performance length: approx. 2 hours (incl. interval). Latecomers will be seated when appropriate. Tickets are for allocated seating. See Ticketing T&Cs for the Hannah’s policies on phones, photos and large items
PURCHASE TICKETS
Synopsis
On a riverbank Alice spots a White Rabbit in a waistcoat passing by, exclaiming that he is “late for a very
important date”. She gives chase, following falling into a large rabbit hole. She sees him leave through a tiny
door, which she does not fit through, but by drinking from a bottle marked “Drink Me” she shrinks enough to
fit through the door. She does so and floats out in a sea of her own tears, which she cried after getting
trapped in the room of doors.
As she continues to follow the Rabbit, she meets numerous characters, including Tweedle Dee and Tweedle
Dum, who recount the tale of “The Walrus and the Carpenter”. The Caterpillar in the Garden of flowers, the
Cheshire Cat who directs her, to visit the Mad hatter the March Hare and the Dormouse who are having an
“unbirthday” party. They celebrate her unbirthday too.
The Cheshire Cat reappears and advises Alice to ask the Queen of Hearts for directions home, showing her
a “shortcut” to the King and tyrannical Queen’s castle.
While meeting The Queen she witnesses her order the beheading of a trio of playing card gardeners who
mistakenly planted white roses instead of red ones, and invites (or rather forces) Alice to play against her in
a croquet match where she also meets the Knave who she befriends.
The Cat appears again and plays a trick on the Queen, causing her to fall over. The Cat disappears in time to
make it look like Alice was the prankster, but before the Queen can order her execution, the King suggests
they have a trial.
At Alice’s trial, many of the characters are called to the stand as witnesses, A trick throws the court into
chaos. As the Queen orders Alice’s execution, the Knave comes to her rescue. Alice flees, and the Queen,
King, card guards and other characters give chase. When she reaches the small door she encountered at
the beginning of the film, he shows her that she is actually already outside, asleep. She yells at herself to
wake up; she does and leaves the riverbank to go home for tea.
The Artists
Family , Dance , ,
2 hours
Perectly Wonderland-ish
Review by Hannah Molloy 13th Apr 2019
Melbourne City Ballet’s Alice in Wonderland is light, funny, charming and very child-friendly. It pays enough tribute to the original Lewis Carroll to make sense to the largely young audience but skips off into its own surreal dreamscape, set on an Australian beach of all places. The choreography by Artistic Director Michael Pappalardo and Artistic Associate Brendan Bradshaw, is glossy and fun. The pair also devised the set and props and, while simple, they’re colourful and fun and don’t distract from the performance. The projection, by Bradshaw, adds a layer of movement and interest to the set as well.
Alice, danced by principal Yuiki Masukawa, is by turns sweet, forlorn, and petulant – she stamps her foot a lot! Tynan Wood plays the role of the Lifeguard, who rescues Alice from a rip and appears to woo her but, when he shakes her hand before returning to his chair, causes one more sulky foot stamp. He is athletic and energetic and performs the many lifts and leaps the choreography calls for with ease and panache.
The Duchess, Alexia Cannizzaro, and the Queen of Hearts, Olivia Johnstone, are larger than life and play high school mean girls to the letter. They prance about the stage with flair and hauteur, while the poor cards scuttle about, trying to stay in the good books by dobbing in Alice. David Sims’ White Rabbit is tall and neurotic, doing his best to keep everyone in line and to time. Perhaps the best of the evening though is the Cheshire Cat, danced by Audra Tory. She is slinky and insidious and appears quite pleased with her deceitful cat self, not putting a paw wrong.
The navy swimsuits are a costume highlight and the synchronised swimming they perform in the suits is as elaborate and elegant as described in the programme notes.
The show is increasingly cartoonish as it progresses, more and more like the story its based on, bizarre and surreal but it stays pretty and very easy to watch.
Copyright © in the review belongs to the reviewer
Frivolous, frothy Aussie fun
Review by Greer Robertson 08th Apr 2019
And they are off ‘down under’!
Try and keep up with the bouncing bunny and the fun shenanigans of Lewis Carroll’s classic characters in his novel Alice in Wonderland written in 1865: put a quirky Aussie twist to it and you have it.
To a full house of families from all generations, Melbourne City Ballet ‘leapt over the ditch’ and took to the Wellington stage, captivating and delighting young and old alike as they embark on an extensive tour of Australia and New Zealand.
Based in Coburg Victoria, Australia, Melbourne City Ballet is a relatively young, non-profit, community-supported and sponsored, training and performing programme that operates throughout the year in both regional and remote areas of Australia.
But it’s not easy taking a ballet on tour. A well thought-out flat pack, of colorfully painted scenery designed as a space saver yet still indicating Alice’s whereabouts of either a croquet lawn or facing a myriad of doors to choose from, works. Three males plus 10 female dancers make up the on tour company, who have boundless energy, wear vibrant costumes, and pivot and pirouette admirably on the postage stamped small stage of the Hannah Playhouse, generally known to accommodate casts of non-dancing plays. A masterful feat by no means and the undaunted, enthusiastic small company do it!
Founder and Artistic Director Michael Pappalardo along with co-choreographer Artistic Associate Brendan Bradshaw have for the most part already experienced this kiwi ingenuity while previously training and performing in New Zealand.
Alice the heroine, effervescently animated and onstage the whole time is danced by Yuiko Masukawa. A carefully crafted and well executed pas de deux between Masukawa with Tynan Wood as the Life Guard, is a stand out for me. Olivia Johnstone as the formidable Queen of Hearts is also to be commended, displaying a natural bent for comedic timing along with clean, clear classical dancer’s technique and flexibility extensions. But, I wanted more craziness and command from the Mad Hatter in both his character’s portrayal and costuming as he often steps back in line as a male danseurs support role. The madder the better for the Hatter please.
Brightly coloured pool inflatables, pointe shoes, plimsols and jandals adorn the corps de ballet’s forever moving feet and cute bathing costumes with petalled caps add to the fun of the syncronised swimmer’s beach scene.
A wonderland of a definite difference unfolds, the dancers do their utmost loving every minute of it, and the audience enjoy it also.
What would Lewis Carroll say on seeing such an interpretation? Frivolous, frothy Aussie fun, I’d say.
Copyright © in the review belongs to the reviewer
Comments
Make a comment
You must be logged in to post a comment.
Make a comment
You must be logged in to post a comment.
Comments