Performed by the Andersen Theatre in Lublin.
With live music of Duo Busch & Van Kemenade.
Directed by Jack Timmermans / De Stilte, NL
Honestly speaking, i was hesitant, bringing my 11-year-old god-daughter to the show of "Alice". Will she understand, decode, read it? After all she never saw a showing of ballet or movement theatre. With such style she was about to make her first contact.
Having forgotten about a basic thing i got what was coming to me- "Auntie! I've read "alice in second grade when i was sick and i loved it!""
After getting over the shock of her intelligence and whit of that little dwarf, i realised how special and unusual is what we were about to see. The joy was even bigger founding out that music is live.
"I love saxophone"- she said as we sat down in Andersen Theatre on 5th of september.
Usually at the end i ask sacramentally- "and so my lady, which part did you like best?". This time i didnt have to. I didnt make it, because before i had the chance my little alter ego screamed "everything!"
In this matter we had perfectly the same opinion, and we are picky theater audience. Telling about this performance ill allow myself a little experiment- first ill say what you could see- firsl of all ascetism, creativity and multiple meanings.
Props in movement theatre put a particular task in from of the director and actors. Basicly it can be there, but it absolutely cant overpower, stop choreography, even more- it would be perfect if it played together with actors, lights, music, dance.
Thats exactly the case of this "Alice in Wonderland". The credit for this goes to Pink Steenvoorden and Einstein Design. Simple sofas, or beds covered with pillows and blankets (dont forget that a merrit of the world of Mad Hatter and Cheshire Cat is a sleepiness on a border of reality),
Tall chair, sitting on which absolutely charmingly over the top Roma Drozdowna reads to the other Stage Beings "Alice"... in dutch!
And thats it! Enough! Integral part of the play is the light which stains with colours and smudges, plays with shadows. Thanks to the genius of the light designer and ingeneers the imagination of spectators can endlessly have fun.
Stevko Bush from behind black and white teeth of the piano, and Paul van Kemenade with his magical saxophone created magical music, which from the first sleepy-dreamy moment makes the atmosphere, sticks into Persons (no matter what age or height they are) ear, heart and soul.
Long after you still hear the echo of it, makes you warm and happy- its a sort of Bunny, that you catch, keep it safe, and take it out when youre feeling down.
The first out of all my enchantments in the show- the costumes. So practical, fun, soft-dreamy-sweet. I would myself order from Wiktoria Czakon such comfy dress! They allow comfortable mobility, fluidity, at the same time they underline the character of the story, the fantasy of it.
But off course- they were made by a designer, who is firstly a dancer. Thats an intuitive costume, dont you think?
And then there is a Dress- Miss Alice Dress. Victorian, fluffy, covered in roses, with old girly tule underskirt. So old- fashioned and classic.
By its stereotype this beauty becomes a fetish.
According to the director and choreographer Jack Timmermans through its unique, different, special character, it changes the one who wear it.
But there are two sides to this story- by trying on, wearing Miss Dress the wearer becomes new, somehow unknown to his mates. Becomes isolated, untrusted, unsafe.
Anna Rzepa-Wertmann, 7 september 2015