Displaying items by tag: alice in wonderland

Wowza! If you're searching for one of Chicago’s must-see summer events, look no further. The Joffrey Ballet has done it again, this time taking Alice’s Adventures in Wonderland to electrifying new heights at the Lyric Opera House, delivering a kaleidoscopic whirlwind of dance, theatrics, and pure magic. Guided by the visionary genius of two-time Tony Award winner Christopher Wheeldon, this adaptation seamlessly fuses classical ballet with unexpected bursts of tap, mesmerizing stage illusions, and imaginative puppetry. Wheeldon is a visionary choreographer renowned for his ability to fuse classical ballet with theatrical innovation. His direction ensures that Alice’s Adventures in Wonderland is not just a ballet—it’s a mesmerizing demonstration of movement, storytelling, and immersive artistry that sweeps audiences into the bizarre yet enchanting universe of Alice in Wonderland created by Lewis Carroll. Set against the backdrop of Joby Talbot’s spellbinding score, Wonderland unfolds as a psychedelic dreamscape where the Mad Hatter defies rhythm, the Queen of Hearts commands the stage with regal ferocity, and the ever-dashing White Rabbit keeps the adventure racing forward.

From breathtaking choreography to vibrant storytelling, this production breathes new life into Lewis Carroll’s iconic world, transforming it into a sensory explosion of movement, wit, and wonder. Every leap, twirl, and dramatic flourish pulls audiences deeper into a surreal fantasy that is both enchanting and unforgettable.

Alice doesn’t simply fall into Wonderland—she plummets into a realm of delightful madness, where reason bends and imagination rules – and the special effects are simply mind-blowing! In this topsy-turvy world, she’s whisked into a dizzying adventure by the ever-hurried White Rabbit, who barely has time to explain anything before dashing off again. The Mad Hatter’s tea party is pure chaos, with logic thrown out the window and time behaving like an unruly guest. The Cheshire Cat appears and vanishes with an eerie grin, offering cryptic wisdom that only deepens the mystery. And the Queen of Hearts? She’s as unpredictable as she is temperamental, ready to declare, “Off with their heads!” at the slightest provocation.

From growing and shrinking in size to playing croquet with flamingos, Alice must navigate Wonderland’s absurd rules while questioning everything she thought she knew. This stage adaptation transforms Carroll’s whimsical world into a vibrant, theatrical spectacle filled with stunning visuals, witty dialogue, and playful surprises at every turn. It’s a stunning experience where reality dissolves and nonsense takes center stage!

Joffrey’s Alice’s Adventures in Wonderland dazzles at the Lyric Opera of Chicago with a glittering cast that breathes life into Carroll’s timeless fantasy. A rotating lineup of exceptionally talented dancers take on the iconic roles, ensuring each performance offers a fresh and dynamic interpretation of Wonderland’s whimsical inhabitants.

Alice, the fearless and inquisitive heroine, is brought to life by Amanda Assucena, Anais Bueno, Gayeon Jung, and Jeraldine Mendoza. The ever-hurried White Rabbit—portrayed by Stefan Gonçalvez, Dylan Gutierrez, and Zachary Manske—whisks Alice through a transformative series of adventures. Meanwhile, the commanding Queen of Hearts, played by Anais Bueno, Lucia Connolly, Olivia Dureya, and Victoria Jaiani, commands the stage with regal presence and just the right touch of mischief.

Edson Barbosa and Jonathan Dole embody the eccentric energy of The Mad Hatter, whose tea parties defy logic in the most spectacular fashion. Adding to the intrigue, Jose Pablo Castro Cuevas, Stefan Gonçalvez, Hyuma Kiyosawa, and Alberto Velazquez alternate as Jack, the charming Knave of Hearts entangled in the Queen’s unpredictable world.

On the evening I attended, Gayeon Jung mesmerized as Alice, bringing the character to life with fluid dance routines, distinctive charm, and effortless grace. Zachary Manske captivated the audience as The White Rabbit, embodying the role with quick, rabbit-like mannerisms, seamless movement, and a delightful urgency. Jose Pablo Castro Cuevas exuded elegance as Jack, The Knave of Hearts, while Johnathan Dole impressed with impeccable tap skills as The Mad Hatter. Yet, it was Anais Bueno’s portrayal of The Queen of Hearts in the third act, The Palace Gardens, that may have truly stolen the spotlight—her dance and expressive artistry were nothing short of breathtaking. With a great sense of sharp physical comedic timing, not often seen in ballet, she infused the Queen with a lively, commanding presence that had the audience cheering in admiration.

The set design for Joffrey Ballet’s Alice’s Adventures in Wonderland at the Lyric Opera House is a mesmerizing fusion of theatrical magic and whimsical artistry. With costume and scenic design by Tony Award-winning Bob Crowley, the production features vibrant stagecraft, surreal puppetry, and astonishing visual effects that transport audiences straight into Wonderland’s dreamlike world. From the ticking clocks that echo Joby Talbot’s hypnotic score to the larger-than-life characters brought to life through ingenious design, every scene is a feast for the senses.

Adding to the production’s already astonishing vision, conductor Scott Speck masterfully guides the Lyric Opera Orchestra through a rich, dynamic rendition of Joby Talbot’s score, elevating Wonderland into a truly enchanting theatrical experience.

Prepare to be swept into a world of breathtaking ballet, whimsical storytelling, and pure theatrical magic!

Alice’s Adventures in Wonderland at the Joffrey Ballet is a dazzling spectacle that captivates audiences of all ages, blending mesmerizing choreography with vibrant stagecraft. Whether you're a longtime ballet lover or simply looking for an unforgettable experience, this production promises thrills, enchantment, and a touch of Wonderland’s delightful madness.

Alice’s Adventures in Wonderland is being performed at Lyric Opera of Chicago through June 22^nd. Run time is 2 hours and 45 minutes, which includes two intermissions.

A brief but important note—as a disabled reviewer, I want to sincerely commend the Lyric Opera of Chicago and/or Joffrey for ensuring accessibility by assigning an usher to manage the first-floor restrooms, reserving them for handicapped and senior patrons who cannot navigate the stairs. Given the length of this delightful production and its two brief intermissions, this thoughtful accommodation makes a meaningful difference. 

Don't miss your chance to journey down the rabbit hole—secure your showtimes and tickets at the Joffrey Ballet’s official website here!

Recommeded for audiences of all ages.

*This review is also featured on https://www.theatreinchicago.com/! 

I’ve seen quite a lot of wonderful, entertaining dance productions in Chicago lately - creations that include music and modern dance set to the compositions of great artists like David Bowie, Sting and also beautifully staged to outstanding selections by lesser-known musicians that undoubtedly deserve more recognition. This past weekend I was able to catch a very impressive dance spectacle by MOMIX, the Washington, Connecticut based company known for their dancer-illusionists. With incredibly spot on music by a host of talented artists, MOMIX brought their interpretation of Alice in Wonderland to life for a one night only performance at Chicago’s Auditorium Theatre. ALICE, by Artistic Director Moses Pendleton, really stood out as being a tremendously alluring and engaging piece of dancing, mixed media and an ingenious presentation - a unique experience of both modern and classical music. 

MOMIX: ALICE utilizes ingenious props involving full-length mirrors held by the dancers while gazing into them, silken fabrics, which seem to breathe like they are alive and glow as the dancers writhe beneath them in stunning shapes and subtle movements, and a massive whimsical swing for Alice to glide on while set in a sunny field of wildflowers and green grass. There are twenty-foot high mechanical lifts and gowns, which propel Alice high up into other worlds set to the music of Grace Slick’s “Go Ask Alice-White Rabbit” and giant rubber balls, which are bounced in unison by the seven dancers and manipulated in such a way that is both graceful and comical. Massive blood red silken roses come to life like puppets with no visible puppeteer, ever so gently brushing back and forth against the heads and shoulders of two beautiful dancers in Act Two’s “Bed of Roses” . 

Although this production is not a child’s production of the play or film Alice in Wonderland, it is marvelously colorful for a vibrant visual experience and spectacularly graceful in its execution. I loved that the final message given during this open interpretation of Alice comes in the words “feed your head, feed your head,” which was applauded wildly by the audience.

MOMIX: ALICE is a true ensemble piece and when the faces of the dancers are covered it is difficult to tell them apart, because Pendleton has cast a very specific body type and height in order to keep all of the movements and stunts unique to MOMIX as uniform as possible, yet the quality of their dance still allows for the fierceness and sensuality of individual dancers to shine through. 

All of the dancers, regardless of their dance background or number of years dancing displayed the highest quality of dance movement, which, to me, happens when the expression of each gesture and movement extends all the way through to the fingertips - the very tips of the fingertips and toes in the most elegant and intelligent way. This type of extension and attention to detail and grace in the hands particularly gives the entire production a hypnotic and floating quality that is not often seen in modern dance.

ALICE has dark moments, humorous moments and sensual moments that take us through Alice’s personal discovery in growing as a little girl into a woman experiencing different planes of consciousness. All the while, the production never veers into the realm of clowning or erotica that might tarnish the incredible combinations of superb young dancers mixed with art worthy projections and very interesting and exciting musical choices. 

Artistic Director Moses Pendleton says it perfectly in the program, “We see Alice as an invitation to invent, to dream, to alter the way we perceive the world, to open it to new possibilities. The stage is our rabbit hole. We welcome you to drop in!”

During the after-show Q&A, which was very interesting, an audience member asked why MOMIX does not have a permanent home in Chicago like Blue Man Group. Their answer was two-fold – to bring the show to wider audiences around the world by touring, and to leave the audience begging for more. I agree that the comparison to Blue Man Group (as far as being a resident show) is right on the money. MOMIX: ALICE is full of such spectacular illusions, marvelous video projections of nature and other psychedelic artworks accompanied by the highest quality of dance, that it is worthy of having its own permanent stage and is entertaining enough to see over and over again.

I highly recommend MOMIX: ALICE when it (hopefully) returns to Chicago or any MOMIX production for that matter. 

Chicago Children’s Theatre World Premiere invites you to “Wonderland, Alice’s Rock and Roll Adventure”, and to delve into your curious imaginations. Chicago director Rachel Rockwell and music director Michael Mahler reinvented Lewis Carroll’s books Alice in Wonderland and Through the Looking-Glass into a wild adventure of self-actualization.

Small, troubled, 7½ year-old Alice wants to feel ten feet tall, because after all, nothing matters at all when you’re feeling small. But that does not stop Alice from reaching her dream of becoming queen. Rockwell describes Alice as “an active protagonist. We’re talking girl power here, empowering girls, in particular, to boldly discover their true selves.” Ariana Burks, 15 years, and Isabelle Roberts, 12 years, steal the audience’s hearts, brilliantly playing Alice (both young ladies will be alternating performances as Alice).

Rockwell and Mahler uniquely interpreted the classic “Alice” stories into an inspirational rock and roll adventure. A new Alice in Wonderland soundtrack was created featuring sounds similar to Aerosmith, Kiss, Joan Jett, and David Bowie. With the perfect cast and crew, this performance is seamlessly executed. The live rock soundtrack, varying from classic rock to punk to ska, surrounds Alice as she learns valuable lessons from her friends in Wonderland. The Mad Hatter tells Alice to “do what you like, and like what you do.” Ironically, the short tempered Caterpillar reminds Alice to keep her temper. The unicorn at the end of Alice’s journey tells Alice to believe in six impossible things before breakfast, with the underlying message “believe in the impossible, and the impossible will believe in you.”  

As far as vision goes, the set perfectly captures the Victorian-grunge look. The stage’s floor resembles a chess board, and projections of gardens and hallways are plastered behind the cast to aid in the visual adventure. Costumes are also very fun and innovative to complement the colorful set. Costume designer, Mara Blumenfeld, turns the Cheshire Cat into a 1970’s lavish David Bowie. Cheshire Cat, Andrew Mueller, follows Alice throughout her journey and always wears a grin on his face because he knows the punch line. The Queen of Hearts, Molly Callinan, rocks the Joan Jett look and is completely mad when it comes to order and fairness. All the while, the Red Roses, Lillian Castillo and Regina Leslie, wear red bows and puffy red skirts, providing Alice with ridiculous advice, like “it takes a lot of work to be a natural beauty!” The Jabberwocky, also Andrew Mueller, is your worst nightmare… a punk rock demon. Complete with intimidating black spiky hair and tall, black boots, Alice must defeat the Jabberwocky; the negative thoughts and harmful monster created in her head. In this case, Alice smashes her demons, with a sensational solo on the drums. At the end of this crazy adventure, Alice learns to believe in herself and to never instill self-doubt in her head.

This performance calls for kids, parents, aunts and uncles, grandparents, and school groups to join in the fun at the Ruth Page Center for the Arts! “Wonderland, Alice’s Rock and Roll Adventure” will make you laugh, it will make you shake, and it will tap your feet along with the beat.

“Wonderland, Alice’s Rock and Roll Adventure” performances are being held through May 24^th at the Ruth Page Center for the Arts, 1016 N. Dearborn St., Chicago. Tickets are $10-$38. Programs include fun activities for kids and lessons drawn from the themes of the play. For tickets and information, visit chicagochildrenstheatre.orgor call (872) 222-9555. Email This email address is being protected from spambots. You need JavaScript enabled to view it. or call (773) 227-0180 x 13 to learn about deeply discounted group rates for schools, playgroups, birthday parties, and scouting trips. Note: Groups can book an ASL- interpreted or Autism-Friendly performance by calling (773) 227- 0180 x 13 with a minimum of two week notice.

"But how does one know if they've gone mad?" asks Alice of the elusive Cheshire Cat as he swings on a rail, hanging twenty feet off the ground. "You see, a dog growls when it's angry, and wags its tail when it's pleased," he answers. "Now, I growl when I'm pleased, and wag my tail when I'm angry." He grins and disappears, leaving a baffled Alice to contemplate the difference between madness and sanity, the similarities they share, and whether or not they might just be one in the same.

Set in the alternate world that exists beyond – or through – the parlor mirror, Lookingglass Alice is based on Lewis Carroll's sequel to the ever-familiar Alice's Adventures in Wonderland: Through the Looking-Glass. So instead of going down the rabbit hole, we literally step through the looking-glass into a dreamy (and sometimes nightmarish) world of opposites, nonsense, and whimsy, as if we too have dozed off after a game of chess and awake to find a new dimension waiting for us above the fireplace mantle.

With or without its befitting name, the Lookingglass Theatre couldn't be a more apt setting in which to tell this tale, with its open, industrial structure taking the viewer out of the space of traditional theatre and promising something more immediate and exciting.

Part children's entertainment, part Cirque du Soleil, part vicarious drug trip, Alice takes the audience on a journey simultaneously magical and dark, funny and frightening, alarming and calming, and above all, surreal. Characters have different proportions through the looking-glass, some excessively tall, some uncharacteristically small; one can run fast for hours and wind up in the very same spot from which they started; Red Queens float on umbrellas in the ocean; cats play with oversized balls of yarn (or is it you who are under-sized?); Alice spins so fast on a suspended hoop you don't know which end is her head and which are her legs – the visual equivalent of how both the audience and the heroine feel after their disorienting passage into the world within the mirror.

A very physical show, Alice is the sort of spectacle meant to be enjoyed by all types of audiences. Young children might be best left at home – the loud noises, confusion, and surreality of it all can be a little overwhelming – but it's undoubtable that physical feats like continuous two-person backflips, the lifting and balancing of actors as though they were weightless, and an anxious finale where Alice wraps herself in ropes mid-air and falls without hitting the ground will impress adults, teens, and kids alike.

Remarkably executed by a vastly talented five-person cast, Alice is less a play than it is an experience. It's colorful and unpredictable. What it lacks in plot, it makes up for in intrigue. Where it forgets logic, it remembers absurdity. You may run in place for ninety minutes and end up in the self-same spot, but you'll have gained a gleeful acceptance of your own madness and the insight that our world is not always as it looks.

Lookingglass Alice, directed by David Catlin, is playing at the Water Tower Water Works space at 821 N Michigan Ave through February 15th, 2015.