‘Alice’s Adventures in Wonderland’ review
‘a dynamic and expressive show, and truly a spectacle to behold’
Durham Opera Ensemble’s Alice’s Adventures in Wonderland recounts a familiar tale of Lewis Carroll’s, transporting us through Alice’s day-to-day to her Wonderland and back again through a vibrantly jazz-inspired opera. Under the direction of Amanda Cross-Court, as well as Chorusmaster Samuel Davie, the show is executed to a high level and features a number of stand-out performances, truly embodying the nature of an ensemble show. Cross-Court and Davie’s work is particularly evident in the cohesion of the group numbers in the second half, and they did well to incorporate a more surreal manner as the text got more meta theatrical, as well as managing conversational tone whilst maintaining operatic vocal delivery (as the score demands). Whilst some scenes may have benefitted from some more direction, on the whole the show was cohesive across its runtime and utilised the space successfully.
The band, conducted by Musical Director Zac Smith, played to a brilliant standard and navigated the twists and turns of Will Todd’s score with practised ease. Alongside Assistant Musical Director (and Violin 1) Cameron Davies, Smith and the entirety of the band put in an incredible performance that was both accomplished and interesting - true highlights were small and precise percussive embellishments and the accordion, which was incredible to hear for the first time in the Assembly Rooms Theatre.
The set, designed by Eva Ryan and Libby Simpson, was nothing short of phenomenal. Huge delicate flowers adorned the stage, along with beautiful hanging butterflies, a flat designed to be a book with fully functional pages which turned to indicate a set change, all complete with a warped checkerboard floor. The costuming too was similarly complementary, and the flies, operated by Izzy Richards, were used to their maximum to elevate the stagecraft. In all, huge congratulations must be given to the whole stage team, under the leadership of Production Manager Sarah Johnston and Stage Manager Leon Ansorg, who executed each transition almost seamlessly.
Lighting Designer Zac Jackson and Operator Val Devereux should also be lauded for such deft and creative ideas, which were at each turn beautiful and nuanced. Particularly during the overture, the changes in lighting helped introduce the show’s musical topography and fulfil its role as a microcosm of the show.
Eleanor Brown (Alice) and Sammy Jarvis (Rabbit) were compelling leads. Their duet in the first half was particularly sweet, and their friendship felt truly formed by the closing numbers of the opera. Brown embodied Alice beautifully throughout, and her aria opening the second half was the perfect place to showcase this, especially when utilising her upper register. Jarvis made a great foil to Brown’s Alice, and his diction in particular was one of the best of the whole cast, each word enunciated with precision.
Maia Harris Lindop and Ash Marshall, initially playing Mum and Dad respectively, later returned in Wonderland, each exhibiting their impressive ranges. Marshall’s Queen of Hearts was domineering and temperamental, knowing exactly when to explode and delivering each ‘off with their heads!’ with convincing power. Similarly, Harris Lindop as the Mad Hatterwas . Firmly giving one of the stand-out vocal performances of the night, her projection and comedic timing was a joy to behold.
Secondary roles were similarly of an impressive standard: Keira Barrett truly exhibited powerhouse vocals throughout the show, but particularly in her role as Bottle. Instantly compelling and carrying her proud character with ease Her duet with Harris Lindop as the Duchess, too, was wonderful and their voices complemented each other very satisfyingly.
Further: Fred Walmsley’s Caterpillar was a lovely change of pace, bringing his deep vocals to the forefront in a perfectly lethargic manner; Fran Fitton’s Cheshire Cat was skilfully unsettling, her facial expressions highly compelling and her voice soaring easily above the band; Matthew Dodd’s March Hare and White Knight were simply a pleasure, his physicality atop his trusty unicorn eliciting myriad laughs from the audience; Hannah Mayes, too, was complementary in her comedy, both as the haughty Humpty Dumpty and the timid Dormouse; and last but not least, Tweedledee and Tweedledum, played by Eleanor Barnes and Olivia McClintock respectively, provided a familiar picture of comic bickering.
To round off the cast, the ensemble, made up of Isabelle Bruce, Mathilda Ketterer, Izzy Cochrane, Ben Glover, and Joe Wilson were incredibly dynamic and funny, truly making the most of each of their appearances and forming a strong theatrical backbone to the show.
All in all, DOE’s Alice’s Adventures in Wonderland was a dynamic and expressive show, and truly a spectacle to behold. With an impressive array of efforts involved, all should be proud of their involvement.
By Emi Sharples.