Latest news with #Alice'sAdventuresinWonderland
Chicago Tribune
4 days ago
- Entertainment
- Chicago Tribune
Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer
The Joffrey Ballet's season rarely extends this far into summer, but it's safe to say 'Alice's Adventures in Wonderland' was worth the wait. This beast of a ballet by the Tony Award-winning choreographer Christopher Wheeldon had its North American premiere at the Lyric Opera House on Thursday. If, like for me, Lewis Carroll's 1865 fairy tale about a girl who stumbles into Wonderland is a core memory, all those beloved characters are there, with a splendidly cogent (and at times delightfully grotesque) libretto. It's more Tim Burton than Disney, but you'll recognize moments no matter your preferred version (including my personal favorite, the 1985 TV movie musical starring Jayne Meadows and Carol Channing). Following a drowse-inducing garden party at her Victorian Oxford estate, Alice (magnificently danced Thursday by Amanda Assucena) awakens to find an anxiously tardy White Rabbit (Stefan Gonçalvez). She of course must follow him, kicking off a series of Don Quixote-style adventures with wild, wacky and terrifying characters. Letting her curiosity guide her, she encounters a tea party hosted by a tap-dancing Mad Hatter (Edson Barbosa) and a slithering Cheshire Cat (whose dismantlement is made possible by a corps of dancer-puppeteers). Indeed, 'Alice's Adventures in Wonderland' will resonate strongly with those who adore 'Alice' — so much so that Joffrey extended the production to three weekends before it opened. In any case, exploiting its usefulness as a ballet was far overdue. There is much within Wheeldon's zany world for everyone to admire. Very small children may not appreciate some scarier moments, most notably a scene at the Duchess' house, in which viewers quite literally see how the sausage gets made. The brutish Duchess (Dylan Gutierrez) and her ax-wielding cook (Lucia Connolly) contribute some of the night's most, um, salient imagery. The pair of them (along with henchmen Valentino Moneglia Zamora, Hyuma Kiyosawa and Xavier Núñez) are terrifically terrifying. 'Alice's' third and final act is devoted almost wholly to the search for who stole the Queen of Hearts' tart. It begins with a game of croquet, played with bendy flamingoes on pointe as the mallets, striking adorable summersaulting hedgehogs. This not-so-regal realm, ruled by prima ballerina Victoria Jaiani as supreme leader, embarks on a tribunal when it's uncovered that the Knave of Hearts — a two-eyed Jack danced by the princely Alberto Velazquez — is most likely the offender and about to lose his head. Hilarity ensues. As hard as it will be to peel your eyes from Jaiani, every once in a while, be sure to glimpse her ridiculous King (marking David Gombert's glorious return to the Joffrey stage 15 years after retirement). There are tender moments, too, particularly in a satisfyingly sweet duet for Assucena and Velazquez as Alice tries to accept the blame in tart-gate. She eventually prevails, if only by waking up back in Oxford. If there's a lesson to be learned from 'Alice's Adventures in Wonderland,' it might be that taking the blame for your boyfriend's impropriety could turn out poorly. That, and vindictive, power-hungry leaders whose kingdoms are built on a literal house of cards are not likely to succeed. Cleverly, 'Alice' borrows hallmarks from the ballets of Carroll's time, winking at canonical works like 'The Nutcracker,' 'Sleeping Beauty' and 'Cinderella.' There's a waltz of flowers; a for our protagonist and her scrappy love interest; a hilariously satirized 'Rose Adagio' for the Queen of Hearts and four suitors (in this case, hearts and clubs); and a shirtless, hookah-smoking sultan-turned-Caterpillar (Jonathan Dole) performing a seductive take on 'the worm' with a quartet of scantily clad temple women. I'm pretty sure we didn't need that last one when 'Alice' premiered in London in 2011, and I'm certain we don't need it in 2025 — though I'll take the cameo of academy kids as sparkly pointe-shoed caterpillar legs all day, every day, plus Sunday. To be clear, such tongue-and-cheek references now to 19th century ballet are generally welcome and especially fun for those who see the parallels — perhaps even more so to those familiar with Wheeldon's catalog, too, which includes Joffrey's nearly decade-old 'Nutcracker.' In some instances, that ballet and this one parrot one another; Wheeldon went so far as to use some of the exact same ideas in his 'Nutcracker's' transformation and snow scenes, further tugging the plot parallels to these two coming-of-age stories set in magical fairy lands that may or may not have all been a dream. But 'Alice's' superpowers, all due respect to 'The Nutcracker,' are its magnificently evocative original score (by Joby Talbot) and Wheeldon's pinpointed attention to detail in every character, masterfully embraced by the Joffrey's excellent dancers, whose full-throttled performances and comedic prowess grab you and hold on for the entirety of this (very, very long) spectacle. Another thing: Wheeldon's imagination could only run this wild in a superbly-crafted Wonderland, made possible through the ingenuity of scenic and costume designer Bob Crowley, lighting designer Natasha Katz, projectionists Jon Driscoll and Gemma Carrington and puppeteer Toby Olié — seamlessly executed by a Joffrey team that, frankly, has never attempted something this big. 'Alice' was originally created for London's Royal Ballet, a company of 100 dancers and nearly 10 times Joffrey's budget. Until Thursday, it had not been performed this side of the Atlantic. Pulling it off was going to be a challenge. But they did. And Wonderland turned out to be a risk that will pay off in Joffrey Ballet presents 'Alice's Adventures in Wonderland' (4 stars) When: Through June 22 Where: Lyric Opera House, 20 N. Wacker Drive Running time: 2 hours, 50 minutes with 2 intermissions Tickets: $45-$233 at 312-386-8905 and
Yahoo
27-05-2025
- Entertainment
- Yahoo
Alice's Day to transform Oxford into Wonderland this summer
There will be street theatre, talks, storytelling, and guided walks as Oxford celebrates Alice's Adventures in Wonderland this summer. The Story Museum has announced the return of Alice's Day, an annual event that transforms Oxford into a wonderland. Taking place on Saturday, July 5, this year's festival will follow the theme of 'Quests and Adventures'. Alice's Day will return to Oxford this July (Image: The Story Museum) Alice's Day will return to Oxford this July (Image: The Story Museum) In July 1862, Charles Dodgson took Alice Liddell and her sisters on a boating picnic up the River Thames from Folly Bridge in Oxford. To amuse the children, he told them a story about a little girl, sitting bored by a riverbank, who finds herself tumbling down a rabbit hole into a topsy-turvy world called Wonderland. Ten-year-old Alice asked Mr Dodgson to write the story down, and the result was Alice's Adventures in Wonderland, published in 1865 under the pen name Lewis Carroll. Visitors to Oxford will have the chance to see the Red Queen procession, a life-size pack of cards, and Alice herself chasing the White Rabbit, all performed by Curious Company. Other venues taking part include the Bodleian Libraries, Museum of Oxford, History of Science Museum, The Lewis Carroll Society, Oxford Water Walks, The Oxford Children's Book Group, and Alice's Shop. Alice's Day will return to Oxford this July (Image: The Story Museum) Alice's Day will return to Oxford this July (Image: The Story Museum) Christ Church, once home to Alice Liddell, will host croquet in the masters' garden in partnership with the Eynsham Croquet Club. It will also have a talk by Phillip Roberts about the Magic Lantern, a 19th-century storytelling device used by travelling entertainers. This event will include a performance of Lewis Carroll slides, recently acquired by Christ Church Library. The Story Museum will offer half-price entry to its interactive galleries, and visitors will have the chance to play Snarks and Riddles, a board game designed by the museum's young Story Curators. This life-size game is inspired by the story worlds of Lewis Carroll. Alice's Day will return to Oxford this July (Image: The Story Museum) Alice's Day will return to Oxford this July (Image: The Story Museum) The museum's magic common room will host the giant Wonderland afternoon tea, featuring cakes, sandwiches, and savouries made by the café team. Ameneh Enayat, The Story Museum's head of creative programme, said: "We are incredibly excited to reveal another unforgettable Alice's Day. "We are especially pleased to reveal the new interactive board game, made by our young Story Curators; a team of budding designers aged 11 to 16 working with The Story Museum to develop skills in immersive exhibitions in weekly after-school sessions during term time. "We are incredibly grateful to our partners who work so hard to make this day so special. "I can't think of many children's stories that have influenced art, fashion, food, and film the way that Alice has, and it's wonderful to think that it all originated here in Oxford."
Khaleej Times
22-04-2025
- Entertainment
- Khaleej Times
Canada's Alberta Ballet wows Dubai audience with performance of A Thousand Tales
Following a hugely successful premiere back in 2023, the new, contemporary ballet A Thousand Tales marked its return to Dubai, UAE on April 4 and 5, 2025, in a restaging that charmed audiences across the GCC region and beyond with its enthralling mix of classical charm, timeless narrative, and spellbinding musical score. Organised by SAMIT Event Group, with direction and choreography by Francesco Ventriglia and music from Alexey Shor, A Thousand Tales follows the White Rabbit from Lewis Carroll's Alice's Adventures in Wonderland as he goes on a quest in service of the Prince from Cinderella, attempting to find the true owner of a golden shoe dropped by a mysterious unknown woman who stole the Prince's heart. Along the way, he meets with a wide variety of characters from seminal childhood tales known the world over, including Cinderella, Sleeping Beauty, Snow White, Aladdin, Beauty and the Beast, Puss in Boots, The Three Musketeers, and many more, with some offering assistance and others challenging him in his noble quest. Taking on the role of writer, director, and choreographer, Ventriglia was the creative lead behind the production, arriving in Dubai with Canada's Alberta Ballet dance company, whom he heads as artistic director. "Dubai is an incredible place", Ventriglia said, "and for us to come here now, it's amazing because it's an opportunity to show the work that Alberta Ballet has been doing, and to make sure that the name of the company can be internationally recognised. It's the first time ever that the company has come to Dubai and I think that we are the first Canadian ballet company performing here, so we're really very proud to be representing the country here, and A Thousand Tales is such an amazing show! It's an event for everyone, of every age! It's a fairy tale, but it's also a real ballet, with real dance technique and ballet technique which is actually very challenging, but it comes across beautifully". Ventriglia also took the time to single out the ballet's musical score, around which the entire production was constructed, remarking that "it was really the easiest thing in the world to choreograph to Alexey Shor's music, because it's so beautiful. I really love Alexey's compositions, and in fact I keep telling him that we need to do a new ballet together again some time because I really love his works, and it's so natural to create dances for this music. It's not simple music but it's perfect for ballet. The way it's constructed is very clever; there's a narrative to it, and the collaboration with him has been incredible from day one!" These sentiments were shared by the rest of the production team behind the show, with Roberta Guidi Di Bagno, the globally-acclaimed mind behind the ballet's stunning sets and costume designs, declaring that "the music is so descriptive! I'm absolutely in love with Maestro Shor's music because I think he is so poetic and so danceable, and the way Francesco translated it into ballet is just pure art!". The renowned Valerio Tiberi, meanwhile, who was the lighting designer for the production, had similar things to say, as he noted that "the music is really great; it's got all these melodies, with different rhythms and different colours and it's really wonderful. I think Francesco created a very nice combination to tell the story, because there is a comprehensive story behind the ballet, and the music is the main base, with everything else on top to help with the storytelling aspect you know". Taking centre stage during the shows themselves, meanwhile, were the dancers of Alberta Ballet, who made up both the entirety of the corps de ballet, as well as the vast majority of the principal roles. These included Aaron Anker, in the role of Prince Florian, and The Beast; Alexandra Hughes as Cinderella; Luna Sasaki as The Beauty, and Snow White; Scotto Hamed-Ramos as Aladdin, and Rothbart; Caleb Durbin as Prince Charming; Mariko Kondo as Jasmine, and the White Swan; and Mario Galindo from Spain's Compañía Nacional de Danza as the White Rabbit. "This is my first time visiting Dubai, and I'm thrilled to be here", Anker said, in comments that were echoed by many of his castmates. "It's really cool, everything's huge, the streets are huge, the buildings are huge... the scale of everything is massive, and the architecture and the design of everything is so amazing and beautiful!" "The ballet itself is really great", he continued, "I think it's a brilliant way of sort of bringing together a lot of stories that people recognise. It's a fun story, and the music, well, first of all it's beautiful, really, really lovely music, and it's always a great treat to dance to beautiful music. I 100 per cent believe that the music is first, the music makes the dance, because as a dancer you're not really much without the music! So yes, to me the music comes first and then we add to it, so it's really great that it's a beautiful score which fits perfectly with the story, and it really reflects the characters as well, which is cool". Conversely, Shor himself, the man behind the music, was also left impressed by the proceedings on the stage, with the composer exuberantly praising the vision which his own art helped inspire. "I think Francesco has done an absolutely amazing job", he said, "and he's brought together such a fantastic team and a really amazing cast of dancers! I love the way he's interpreted the music and added his own vision to it, and the end result is just a truly magical experience in every way! As a composer it's a genuine honour to see my music being transformed in this way and forming the heart of this ballet, and I would really like to congratulate everyone involved for all the hard work they've put in to make this all come to life." Having reached yet another shining milestone in its journey, A Thousand Tales now looks to continue building on its success with new theatrical runs in different venues across the globe over the months to come. To keep up-to-date with all the latest information, do make sure to follow the production's social media channels, and official website at
Chicago Tribune
20-04-2025
- Politics
- Chicago Tribune
Clarence Page: Donald Trump's immigration crackdown enters the Twilight Zone
Kafkaesque. One hears that word a lot in discussions of Kilmar Abrego Garcia. Or, for lowbrows like me, 'The Twilight Zone' might be the pertinent reference. Abrego Garcia is the Maryland man who was wrongly deported and has been detained without trial in a grim prison in El Salvador. In March, U.S. Immigration and Customs Enforcement agents stopped Abrego Garcia while he was out with his young son. Within days, he was on a plane to the notorious terrorist confinement center called CECOT in El Salvador, where it is clear that U.S. officials were content to leave him to an uncertain fate. His wife sued the United States over the deportation in a case that went to the U.S. Supreme Court. The process revealed a sordid reality in the administration of President Donald Trump that brings to mind the scene in Lewis Carroll's children's tale 'Alice's Adventures in Wonderland,' when the Queen of Hearts impatiently declares during the trial of the Knave of Hearts: 'Sentence first — verdict afterwards.' In essence, that's the shaky case against Abrego Garcia. The Trump administration no longer disputes that he was mistakenly deported. And, indeed, the Supreme Court ruled the government must obey a lower court's direction to 'facilitate' the prisoner's return to the United States. However, Trump, who shows little patience for anyone or anything that gets in the way of his agenda, curiously deferred to Salvadoran President Nayib Bukele, who has rebuffed calls for Abrego Garcia to be returned to U.S. custody. And Trump and his minions continue to accuse Abrego Garcia, without credible evidence, of being a member of the notorious international gang MS-13, whereas in fact he had escaped to the U.S. and was granted 'withholding of removal' status in 2019, on the strength of his testimony that the gang had threatened his family in his native El Salvador. Sen. Chris Van Hollen, a Maryland Democrat, said on Thursday night that he had an unexpected meeting at a hotel in San Salvador with Abrego Garcia, hours after he had been denied a meeting. But Bukele insisted that Abrego Garcia would remain in El Salvador. For Democrats like Van Hollen, the issue has been a defense of fundamental principles of human rights, legal access and equal protection under the Constitution. For Republicans like Team Trump, equal rights for Abrego Garcia is a misguided gesture of sympathy for a man who, as the White House notes repeatedly, entered the U.S. illegally. 'It's appalling and sad that Sen. Van Hollen and the Democrats applauding his trip to El Salvador today are incapable of having any shred of common sense or empathy for their own constituents,' Karoline Leavitt, the White House press secretary, said at a Wednesday afternoon briefing, displaying her rather typical role as a gruff, judgmental megaphone for the president's views and prejudgments. Due process, all the formalities that ensure individuals are treated equally under the law, has been called the fundamental right on which all other rights are grounded. It guarantees that individuals have a fair opportunity to be heard before their life, liberty or property is taken away. Indeed, as an American who happens to live near the strip mall in the Maryland suburb where Abrego Garcia was arrested, I find it 'appalling and sad' that the administration shows so little respect for the constitutional right to due process. It is, after all, one of the bulwarks against the rise of a Big Brother autocracy that Trump seems to find increasingly appealing. The Trump administration has admitted to an 'administrative error' in Abrego Garcia's case, yet it also says it does not have the authority to secure his return. Instead, as Abrego García's lawyers have said, he 'sits in a foreign prison solely at the behest of the United States, as the product of a Kafkaesque mistake.' There's old Kafka again. I'm not alone in noting the similarity. Interestingly, a deeper look into the case against Abrego Garcia reveals some loose ends. One arresting officer, for example, linked his Chicago Bulls baseball cap to the MS-13 gang, which sounds pretty thin. A federal appeals court on Thursday scolded the Trump administration for its handling of the case. 'It is difficult in some cases to get to the very heart of the matter. But in this case, it is not hard at all,' wrote Judge J. Harvie Wilkinson III, in an opinion this past week for a panel of the 4th U.S. Circuit Court of Appeals. 'The government is asserting a right to stash away residents of this country in foreign prisons without the semblance of due process that is the foundation of our constitutional order.' Wilkinson's no bleeding heart liberal. The Reagan appointee, as Politico pointed out, 'has been on the bench for 41 years and is one of the nation's most prominent conservative appellate judges.' Earlier in the week, U.S. District Judge James Boasberg found probable cause to hold administration officials in criminal contempt for defying an order to halt deportations of people deemed 'alien enemies.' And U.S. District Judge Paula Xinis, who has described the deportation of Abrego Garcia as 'wholly lawless,' castigated administration officials for having done 'nothing' to comply with her order to facilitate his release and return. Well, not quite nothing. They have helped start a debate over the legal meaning of 'facilitate.' I imagine Kafka would have some thoughts on the semantics. Meanwhile, I'm wondering if Team Trump knows the legal meaning of 'freedom.'
Yahoo
09-04-2025
- Entertainment
- Yahoo
Open-air theatre performances set to unfold at historic Somerset castle
Two open-air theatre performances are set to unfold at Dunster Castle this summer. Chapterhouse Theatre Company will present Alice's Adventures in Wonderland on Saturday, June 14 and Pride and Prejudice on Thursday, July 31, with both plays set to start at 6.30pm. The company said theatre-goers can enjoy a picnic while watching the performances. Alice's Adventures in Wonderland has been adapted by Laura Turner from Lewis Carroll's original tale. The play will see young Alice journey through a magical world filled with talking caterpillars, mad hatters, and evil queens. Chapterhouse Theatre Company said: "Filled to the brim with magic, music, and not-so-organised chaos, Chapterhouse Theatre Company's sparkling adaptation is perfect for all the family." The second production will be Pride and Prejudice, also adapted by Ms Turner. The performance of Jane Austen's novel celebrates 250 years since the author's birth. The theatre company said: "Step back in time and meet Elizabeth Bennet and her sisters as they navigate the manners and missteps of regency society. "With stunning period costume, timeless wit, and a romantic original score, Chapterhouse's Pride and Prejudice is a faithful telling of Austen's greatest work." Tickets for the Dunster Castle performances, and other stops on Chapterhouse's summer tour, are available at Chapterhouse Theatre Company is known for its UK and international tours, specialising in adaptations of classic literature. It was founded in 1999 to tour outdoor productions of Shakespeare's plays. Since then, it has performed at some of the UK's most historic venues, including many National Trust and English Heritage sites. It has also worked with many cathedrals and stately homes to bring its performances to life.
