The Silliness in the Looking-Glass: A REVIEW*
By Cindy Lapeña
I have great memories of Lewis Carroll’s pair of books: Alice in Wonderland and Through the Looking Glass, which I first read as a very young child in a single-volume Children’s Classics Edition. Back then, I didn’t know what to make of the jabberwocky or brillig and no dictionary search could help me, yet the poems did make sense in my child’s mind. Watching James Reaney’s stage adaption of Through the Looking-Glass as interpreted by directors Jullian Keiley and Christine Brubaker for the Confederation Centre of the Arts’s 2015 Charlottetown Festival brought back wonderful memories of my childhood reading and the zany characters that populated the pages of Carroll’s timeless stories. Kudos to set and costume designer Bretta Gerecke for the amazing and innovative sets. I thought that it was extremely clever to show the scene changes by having the cast wheel them about with bicycles. The stylized and whimsical designs for the sets felt like something out of a cross between Dr. Seuss, Roald Dahl, and Tim Burton—straight out of a child’s imagination.
Admittedly, there was a lot of cheesiness and tongue-in-cheek acting, but it enhanced the story so much so that, instead of the existing film interpretations, which feel like literal and somewhat serious interpretations of the book, the stage production created humour and evoked hysterical laughter from the audience at almost every turn. It was so entertaining with so many surprises dropping down or popping out at the audience that one could not help but be completely engaged with the performance. The use of human Zorb bubble balls was another huge surprise and I could only think of how much fun it would be. There was a great deal of complicated and complex choreography by Dayna Tekatch, interpreted by the Confederation Centre’s resident choreographer Kerry Gage and executed perfectly by the cast.
Speaking of which, the casting was brilliant, and way the chorus was dressed and acted was largely responsible for chortles that broke out from different parts of the audience each time they appeared. I had always read Carroll’s two books as somewhat serious adventures where the well-mannered Victorian Alice just could not understand why everything had to be so illogical and so silly, but this interpretation has given me a totally different and fun perspective on the story. It has made me see this from a child’s point of view, which could be just what the author intended in the first place. That the looking-glass world was also funny was evident throughout and magnified by the silliness of the acting.
I have to admit that I was taken aback by Natasha Greenblatt’s powerful and lower-register voice, which is the opposite of the almost shrill falsetto childishness of the Alices of film, but once you get over the it in the first scene, it grows on you and becomes a warm, conversational tone that does not jar the eardrums. The Red and White Queens, Charlotte Moore and Eliza-Jane Scott were spectacles on their own. Qasim Khan as the White Knight was a walking—or rather, rollicking, bouncing—comedy and the knight’s horses were a riot. While Hank Stinson as the Red King uttered nothing more than snores, his sleeping presence commanded enough attention to keep the audience in stitches. The White King, Rejean Cournoyer, on the other hand, stole his laughter as he executed his single-square moves in his scene.
As town councilor Greg Rivard said, it was a bit slow starting but was thoroughly enjoyable and interactive by the second act, so that his kids enjoyed it very much. That children will enjoy it is undoubtable, as one little child yelled out answers to Alice’s questions, adding to the entertainment value. Unless you are an avid reader, I would not suggest reading the books, though, as the turn-of-the-century language lacks the vibrancy, humour, surprises, and pacing that the play brings. The 2 ½ hours it took from beginning to end didn’t seem like 2 ½ hours at all, except, maybe, before Alice stepped through the looking-glass.
I could go on and on about each cast member’s performances and the clever costumes and props, but that would be giving too much away. Suffice it to say, there were surprises in every scene and you just have to see it for yourself. I do not know if the original performance of this play was meant to be interpreted this way, but I couldn’t care less because this version is what I want to remember from now on.
*Also available on www.onrpei.ca