Lookingglass Alice
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Looking back to look forward is a common impulse. Lookingglass Theatre’s first show, produced in 1988, was Through the Looking Glass–and now it’s performing David Catlin’s acrobatic new adaptation of Alice’s Adventures in Wonderland and Through the Looking Glass, written by Charles Dodgson, aka Lewis Carroll, for his young friend Alice Liddell. Catlin’s version is as chaotic as its sources–or perhaps the logic of his piece is hidden, a sort of deep structure. Despite the show’s resemblance to The Wizard of Oz–just as Professor Marvel becomes the wizard, Dodgson is part of Alice’s real and fantasy lives–her journey isn’t nearly as straightforward as Dorothy’s. Nor should it be: Alice desires nothing so simple as going home. Instead the question Catlin asks is whether she should grow up or not, and if so, how. The answer is far from obvious. The tragedy is that none of us has any choice in the matter.
In this show Lookingglass practices a wonderful economy–a spur to creativity–despite its Mag Mile location. Lauren Hirte is the only ensemble member of the five who doesn’t play multiple roles. In the demanding part of Alice she’s onstage constantly, playing straight man to the plethora of other characters–and often flying through the air to boot. DiStasi portrays not only the solemn Dodgson and the playful White Knight but also the White Queen, taking her from old age to childhood. Anthony Fleming III is sinuous as the Cheshire Cat and roly-poly as Tweedledee; the neat, small Doug Hara makes both a fabulous hedgehog and a poignant Humpty Dumpty; and Tony Hernandez is cuddly as the dopey Dormouse and downright scary as the Red Queen, cruel illogic incarnate. From scenic designer Dan Ostling’s props (a dozen folding chairs create the Mad Hatter’s tea party) to Mara Blumenfeld’s ingenious costumes (she nails the Tortoise with just a green stocking cap and a plastic garbage can lid), everything is done with admirable efficiency and invention.
Where: Water Tower Water Works, 821 N. Michigan
