Research post: More info on missing Theatre Alices

 Whilst searching through archives the other day I stumbled upon New York's Public Library Archive which contains a great many things, including performance videos, and naturally several archive videos of Lewis Carroll adapting plays.

What I have found is quite long but I'm going to try and put this in a list here (and eventually add to the adaptations list on this blog)

Going in order of date:

 Alice (1971, Pittsburgh ballet Theatre) 

This has choreography by Ruth Page and is not the only filmed version of this ballet on this list. Strangely enough I found video excerpts for this in another archive in Chicago, but the clips were not complete (act 2 is mainly missing). This listing on NPL confirms there is a complete version stored in New York.

Clips here and here.

Alice in Wonderland (1971, Manhattan Project) 

This is an experimental performance which honestly I don't know much about. Appears to have been quite famous in the 1970s and used improv imput from the actors.

Alice at the Palace (1982) missing scenes

Elizabeth Swados's Alice at the Palace certainly does exist in a viewable form (released on DVD and streaming multiple times) but NPL has a reel of bloopers as well as more interesting deleted scenes which were presumably cut for runtime reasons (the TV version lost large chunks of the looking glass adapting act) 

Alice's Adventures (1985, Cincinnati/New Orleans City Ballet)

Televised version of Ruth Page's ballet, televised on the 23rd of February 1986 on PBS channel 3 in the US. 

Alice (2002, State Street Ballet)

Film of Robert Sund's ballet adaptation, shown at a film festival. Features Lewis Carroll as a character.

Alicia y su pais de las maravillas (2006, Joven Ballet de Cámara)

Modern dance adaptation filmed for archive. Lewis Carroll features as a character. 

Sources:

Archives:

Alice [Videorecording] 1971.” Accessed June 15, 2021. https://www.nypl.org/research/research-catalog/bib/b12168211#tab3 

“Alice in Wonderland [Videorecording] 1971 Manhattan Project.” Accessed June 15, 2021. https://www.nypl.org/research/research-catalog/bib/b14391790#tab3 

“Alice at the Palace 1982 : Outtakes and Scenes [Videorecording].” Accessed June 15, 2021. https://www.nypl.org/research/research-catalog/bib/b16340091#tab3

“Alice's Adventures 1985 [Videorecording].” Accessed June 15, 2021. https://www.nypl.org/research/research-catalog/bib/b12171819#tab3 

“Alice 2002 [Videorecording] .” Accessed June 15, 2021. https://www.nypl.org/research/research-catalog/bib/b15997207#tab3 

“Alicia y Su Pais De Las Maravillas 2006 [Videorecording].” Accessed June 15, 2021. https://www.nypl.org/research/research-catalog/bib/b17981779#tab3

Videos:

Alice in Wonderland (Act 1, Pittsburgh) . USA, 1971. http://www.chicagofilmarchives.org/collections/index.php/Detail/Object/Show/object_id/867

Alice in Wonderland (Act 2, Pittsburgh) . USA, 1971. http://www.chicagofilmarchives.org/collections/index.php/Detail/Object/Show/object_id/8785

Photos:

“Such a Curious Dream! Alice's Adventures in Wonderland at 150.” The Lobster Quadrille - Such a Curious Dream! Alice's Adventures in Wonderland at 150 - Houghton Library. Houghton Libary. Accessed June 15, 2021. https://library.harvard.edu/sites/default/files/static/onlineexhibits/alice/quadrille/

Historic Images. “1986 Press Photo Katherine Healy, Warren Connover in Ballet ‘Alice's Adventures.’” Historic Images. Accessed June 15, 2021. https://outlet.historicimages.com/products/rsl98951

Fernández, Celia. “Ballet Alicia y Su País De Las Maravillas Photos.” Ballet Alicia y su país de las Maravillas. Universidad Rey Juan Carlos. Biblioteca., May 1, 2006. Accessed June 15, 2021. https://burjcdigital.urjc.es/handle/10115/8006

Theatre Review: A small review of Theatre Du Ville’s Alice

(ALL IMAGES VIA THEATRE DU VILLE, TAKEN BY Jean-Louis Fernandez) 

...Remember when I used to do theatre reviews for this blog? Its been a while.  

In January I managed to get to see the livestream of Theatre Du Ville’s Alice (both parts) in French. Although I have an extremely limited understanding of French (J'étudie le français en ce moment!) I enjoyed the plots of these two highly unique versions (a vague synopsis was thankfully available via downloadable programmes). The cast did a formidable job, some actors playing up to 5 characters per adaptation! As with all theatre du ville content, the staging was exceptional and at some points, gasp worthy. Not dissimilar to the production value of the UK’s National Theatre, which also enjoys a large budget for shows. 

A Unique Vision 

Made in 2013 and 2020 respectively by Frabice Meliquot (of Alice in China infamy) and Emmanuel Demarcy-Mota, theatre du ville’s 2 adaptations feature a teenaged, 17 year old Alice (played in the revival I saw by Isis Ravel) dreaming her way into not just Wonderland and Looking Glass world but also accidentally bumping into other famous literature characters. 

In Wonderland, Alice is teased by a mermaid type figure whilst in the pool of tears, is annoyed and fascinated by Collodi’s Pinocchio, and discovers adolescence via dancing with the wolf from red riding hood. In part 2, whilst in Looking Glass World,  Alice becomes entangled in a bizarre who is dreaming what scenario. This involves herself, Zazie from Zazie in the metro, Dorothy from Beaum’s the Wonderful Wizard of Oz and a modern girl named Rose. 

The casual carrollian may wonder what the point of this is, but in cross referencing these works as well as using random blasts of British songs in certain scenes (case in point: Unicorn’s entrance in part 2 is soundtracked to David Bowie’s Space Oddity: yes really) Melquot and Mota seem to be making a statement about British culture of many eras surrounding the Alice books, and how the tales fit in with other world literature. Also, its a fun idea, and Carroll himself was always playful, so why shouldn’t adaptations be this way? Plus, these adaptations already adapt all of both books, so us purists are well catered for. 

Alice and her dreams of Wonders

Except for when Alice awakens at the end of each adaptation, Meliquot and Mota‘s adaptations are entirely cocooned in their protagonist's dream-worlds. In this adaptation, reality is not important and the circumstances of Alice’s dreams matter even less. There is however one major theme threaded among both parts, Alice’s maturing into adolescence and a hint of coming of age. This is thankfully done very subtly and does not overtake Carroll’s narratives or the cultural playfulness these adaptations use. Instead Alice’s growth and shrinking and encounters with the Cheshire cat, red riding hood wolf, white knight, and eventual coronation across both parts are seen here as metaphors for growing older. 

This theme, coupled with the dark-playful tone of these adaptations, reminded me greatly of a toned down Valerie and her Week of Wonders. There is even a scene where the Cheshire cat, during the famous “we’re all mad here” conversation, enfolds Alice with a coat, directly reminding me of a scene from the film version of Valerie.  (Picture comparison below)

Tone and acting styles

I very much respect these adaptation's ideas to not go cutesy either, Sarah Karabasnikoff‘s Duchess, Jauris Casanova‘s wolf and Karabasnikoff‘s sheep are acted as bizarre, funny and vaguely threatening characters. The Queen of Hearts enters to the song another brick in the wall part 2 by Pink Floyd, here re-framing the character as a sort of harsh headmistress type. But the fun is very much still there (with the queen of hearts entrance, the entire cast break out in dancing) 

There were many standouts in terms of acting. Isis Ravel’s Alice positively embodied Carroll’s title character and gleefully ambled through wonders and horrors in a believable way. The Cheshire Cat wore a vast coat and was characterized by actor Gérald Mailet as being ambiguous as his grin. The Duchess’s baby was here seen as a fully grown man crawling around, Walter N’guyen putting in an amazingly horrifying and wonderful performance. The Red Queen, wonderfully snappish as played by Sandra Faure, carried a chess board in her hand constantly. The whole cast give their all and overall it works wonderfully. 

Philosophy

In these adaptations there are also several points of philosophical musing, particularly in the looking glass adaptation. In her room, modern girl Rose goes through her mirror and meets up with Alice, as well as Zazie, and Dorothy, each bewildered to learn that the other exists. The question of who dreamed what in Looking Glass is in the book (there it was either Alice or the Red King) but by adding more players to this conundrum, Melliquot and Mota re ask the question as something more slippery and far odder. When Alice realizes that the dreamer is her at the end of Looking Glass, there is a real sense of despair in her eyes. Another point of this style of musing comes in Wonderland, where the Cheshire Cat sings and we see a video projection of Alice traversing the world itself. Similarly in the introduction to Wonderland, Alice speaks of Alice Liddell. 

Mise en scene and direction

Other things that struck me were how stylish the mise en scene staging looked. Extremely well done video projections, occasional wild lighting, and stylish non typical costumes were exhibited in these productions. In particular Alice’s costumes, a yellow and white daisy dress in Wonderland and a sparkly purple party dress in Looking Glass, had a sense of style and modernity. 

Perhaps the best way to sum up these beautiful adaptations would be from the programmes that were available to download before the streams. In a note, Theatre Du Ville states that Alice as a character is an  “unlimited traveller and adventurer, “ and in these adaptations, there is definitely a sense of an endless story. Multiple Alices forever with curiosity, bounding through wondrous dream-worlds. 

Now if only we could find somebody to provide sous-titres en anglais for this!

Wonder.land (National Theatre, 2016) is now streaming on National Theatre Collection!

Wonder.land by Moira Buffini, Damon Albarn and Rufus Norris is streaming for certain institutions.

A new musical inspired by Lewis Carroll’s iconic story, wonder.land is a coming-of-age adventure that explores the blurred boundaries between our online and offline lives. Combining live theatre and digital technology in dazzling new ways, wonder.land is brought to life on stage by an extraordinary creative team.With stunning sets, costumes, video projection and lighting, and a score by Blur’s Damon Albarn, this is a musical like no other: an Alice for the online generation. 

This is a rarity as Alice theatre pieces are rarely released from archives. 

Despite being much maligned by UK critics, Wonder.land found some later success in France when it transferred in 2016. The adaptation/reimagining (and it is both) transposes Alice to the digital era. 

In this revisioning a lonely schoolgirl named Aly seeks solace in a bizarre virtual world where she becomes Alice of Lewis Carroll's books. 

I saw this when it was rewritten for National Theatre and extremely liked it. Its unique and not at all traditional, but if you're up for a modern take on Alice, its a good version. 

The archive video is for libraries and universities, so please check if yours have National Theatre Collection.

Watching a play about isolation in a time of Isolation: Botho Strauss’s Big and Small

"How puzzling all these changes are! I’m never sure what I’m going to be, from one minute to another! However, I’ve got back to my right size"  

- Alice, Alice's adventures in Wonderland, Lewis Carroll

(Photomontage mash up edited by me from images by Sydney Theatre Company and John Tenniel) 

This blog is kind of an essay but kind of isn’t. This is a piece I’ve wanted to write since I read this play last year. I don’t think I’ve ever mentioned it on this blog, but I am an aspiring playwright aiming to write surreal/experimental plays. Because this is an underappreciated style in theatre whenever I read something in this genre I tend to instantly love it. This has been the case with Big and Small.

(2002 Wuppertaler Bühnen Poster, via MartinLejeume) 

So um… yesterday, April 4^th, Schaubühne in Berlin streamed Botho Stauss’s Big and Small (Groß und klein) on their site for 24 hours. This was the original 1979 production as broadcast in 1980 and was in German (leaving me to scramble around reading the Anne Cattaneo English translation if the script)

The play has subsequently had various revivals in various languages including French, English, and most recently Spanish. There have been 4 notable English language productions so far, the last in 2012.

Any video recording of this play is a rarity. As is seeing an actual performance. My main experience with this play comes from an English translation of the script. This is a real shame as honestly, this play is fascinating, and bizarre, and yes, Carrollian.

(2008 Berliner Deutsche Theater production, Image via Der Spiegel) 

"Where next in this everywhere?"

Big and Small is essentially about a woman, Lotte’s, bizarre experiences as she becomes more and more cut off and isolated from family, friends, and society as a whole. After she is rejected by her husband Paul she goes on a wirlwind journey around East and West Germany (we’ll get to the significance of that later) Also, its kind of Alice in Wonderland for adults (which is why I’m writing this here)

As a character Lotte is eternally optimistic, even as she is rejected again and again by society and people who simply do not want her there. Her attempts at integration become more desperate as the play goes on. 

Towards the beginning she looks in on a couple, and tries to befriend the wife, a socialite, by convincing her that she is a fan of her. They play a game of dress up, until the woman gets bored and insists Lotte leave. Later on Lotte desperately calls an acquaintance she remembers from school 20+ years ago on her intercom, who insists she can’t stay for the night.

(2012 production, image via Queencate) 

Lotte as an absurdist and Alice figure 

There are also many carrollian interjections. In the intercom scene Lotte is too small for anyone in the house to really hear her. In an earlier scene, which depicts Lotte moving into a surreal apartment, she has to jump to reach a gigantic key which will open the door to her new flat.

Lotte is a postmodern protagonist, echoing protagonists in absurdism and surrealism who are ineffectual, ordinary, and are thrown in against often horrifyingly strange situations. She is also an adult variant on Lewis Carroll’s Alice as Lotte carries a sense of innocence and naivety which other protagonists in this genre lack.

(2016 production, via schauspiel koeln)

Germany, politics and Isolation

The play is also about Germany. And its also about deep isolation. At the time of Stauss’s writing, the Berlin wall was still up and as a result this work is often critiqued as a political/social commentary on East and West Germans, their different cultures, and their isolations. This critique however tends to forget Lotte’s place as a central character and also the fragmented, deliberately surrealistic nature of the story.




























(1988 production, via Sydney Theatre Company)

Although the places that Lotte travels to, a flat, a house, a street, a garden, a waiting room are all familiar, they are warped by her and others perceptions. This warping of everyday things also helps create a sense of alienation. Nearly all the characters in this play are either unhappy or are related to someone unhappy. They live in their own worlds and rarely connect.

(Original 1979 production, via Schaubühne Berlin)

"....And in the end Paul left too."

An unreal world

Lotte’s main experiences occur after she is rejected by her husband, Paul, and as well as the historical background and surreal scenes there is also a sense in Big and Small that Lotte is not just travelling through Germany but arguably also her own psyche. This is shown through the downright weird encounters that she has, from the 17 year old girl in her apartment who is too afraid to face the world outside of a tent, to her snappish and bizarre extended family who argue about finance, act oddly and generally ignore her.

(2012 production, image via Geraint Lewis Photoshelter Archive) 

"Don't you recognize me, Albert?"

In fact upon re reading the segment about the family barbecue, I was struck by how much the barbecue scene evokes Carroll’s mad tea party, right down to the participants irritating the protagonist as much as they can. Lotte, like Alice, leaves in disgust.

The centrepiece of the play is a scene in a phone booth where Lotte attempts to contact Paul, then write a letter, trying to convince herself that she is fine with his new relationship with Inge, “the woman in the zipped up dress” who Lotte only glimpses part way through the play. Its notable that after this scene Lotte’s attempts to integrate with people become more delirious and frantic. At one point she appears before a man waiting at a bus stop to crazily tell him that she is “one of the righteous”. She also lapses into arguments with an unseen person.

(2012 production, image via ohnotheydidn't)

Conclusion

This play seems ripe for revival sometime soon. After all, the last few years politically have been polarized, with countries, friends, family, split into opposing fractions. Big and Small reflects societal unhappiness back at us.

Watching Big and Small now in the current climate is an even stranger experience, making an already weird play a thousand times more so.

You can sense the stillness.

NOTES AND RESOURCES:

• Production educational notes for the 2012 production, including a synopsis and historical context.

• The only English translation of the script, translated by Anne Cattaneo, available in the anthology Contemporary German Plays II: T. Bernhard, P. Handke, F.X. Kroetz, B. Strauss.

• Behind the scenes stills, 1980 German Televised version, Berlin Museum Archive.

• Second set of behind the scenes stills, 1980 German Televised version, Berlin Museum Archive

• Geraint Lewis, Photoshelter, 2012 production

• Donald Cooper, Photostage, 1983 UK production

• An insightful New York Times, 1983 New york production review

• Costume designs, Voytek, 1983 London production costume designs, V and A archive

• 2005 French production poster design Eric Vigner

Alice in shoppingland: MS Schrittmacher's Alice

Sometimes the internet can be actually quite useful. 

For example, when trying to find theatre on streaming due to the current circumstances I stumbled across a dance multimedia archive, which lead me to an 8 minute clip of an avant garde theatre dance version of Alice, made by German theatre collective MS Schrittmacher. 

Also it might be a critique on capitalism and money??? Maybe? 

Digging further I found the full 1 hour 38 minutes on vimeo.

Very much a modern adaptation, MS Schrittmacher's Alice goes hurtling into a shopping centre after a rabbit. Wonderland is a land of disgruntled employees who all seem familiar. As far as I can tell from the credits, it does seem to be a book adaptation, just with dialogue modernized. 

There's a nice physicality to the piece as well as some great comic timing. Despite being much older than other incarnations of the character, Antje Rose's Alice still carries a sense of her 7 and a half year old book self! 

As I like site specific theatre, this gets a big plus from me.

Sadly the performance is in German only, but there is a press release in English and a decent review by Irish times. 

Any help translating would be much appreciated! 

Alice in Concert at Coronado, US

Photos from an extremely rare performance of Elizabeth Swados's Alice in Concert. This is the first production since 2015! 

You might be familiar with this as it was televised in an abbreviated version as Alice at the Palace in 1982. 

This production is by Lamb's players's theatre, who previously featured this musical in 1993. 

Jess Peet as Alice in a promotional image for Anthony Neilson's 2016 adaptation of Alice in Wonderland. 

I loved the way this version looked. 

2019 revival cast of Eva La Gaillenne's Alice in Wonderland and Through the Looking Glass

Ongoing in Ashland oregon, USA until October. Sadly photos of the looking glass act are not available for reasons unknown. 

Really hope more photos are released soon! 

FAVOURITE DANCERS FROM THE 2011 AAIW BALLET: SARAH LAMB AS ALICE

(1ST CAST ALICE, ROYAL BALLET)

The difficulty that the choreographer and dancer face is Alice’s age. She has to be juvenile enough to be intrigued by the random episodes in which she is a bystander, and yet old enough for a love interest. Lamb in the first cast is gamine, decisive and eager to fall in love.

(Quote by books0977)