Cirque Alice

An 'in-building' circus has arrived in Brisbane town, this time centred around Lewis Carroll's famous opus 'Alice in Wonderland' and set in a minimalist environment on an individual platform placed on the concert hall stage, even surrounded by some of the audience. It's a unique idea incorporating the famous fairytale characters in such a setting, a somewhat intimate theatrical experience being mostly viewed from afar by the auditorium audience. 

Accompanied by a synthesized version of a selection of famous classical favourites, including the use of solo violin by the White Rabbit, played by Darius Thompson, the show incorporates a selection of mostly traditional acrobatic circus feats (some quite breath-taking particularly being, in some instances, on such a small stage/platform) and the use of audience participation mostly with an hilarious performance by Jeff Hobson as the Mad Hatter. Definitely not a newcomer to the stage apparent with his set of magic routines, timing and sense of comedy - occasionally somewhat risqué - casting his infectious spell over the amused audience, this is a night designed for the family who enjoy a night at the circus but on a smaller scale, in contrast to the vast dynamism of the ever-successful Cirque du Soleil.

Incorporating the performers into a simple plot surrounding Alice, played by Australian lyric soprano Layla Schillert, there are nine additional fairly short acts on display, too many to mention here, but with some of the highlights including two Ethiopians, portraying Tweedle Dee & Tweedle Dum, performing some daring spinning acrobatics, two Tanzanians as the Red & White Knights in an incredible human balancing act, Peruvian William E. M. Gonzales as the Doormouse in a daring routine reaching the heights, contortionist Queen of Hearts Maria Sarach from Russia, four Mongolians portraying the Caterpillar and a selection of spinning and spiralling aerialists, amongst various feats, from Ukraine, Russia, even Portugal.

The show also includes a small group of five Australian dancers to enhance the action on stage which is constantly ablaze with a vast array of colourful costumes designed by Angela Aaron and a terrific kaleidoscopic lighting plot headed by Aaron Thomas.

Being a world premiere of the production, frayed nerves were soon under control, the show being well-rehearsed and surrounded by effective choreography from Dane Bates to enhance the concept. Unfortunately there are some issues with the sound balance (particularly the booming bass) and with some of the rather bland musical arrangements lacking colourful orchestration; also, some tightness in artistic direction with the finale would leave the audience less confused and bring the show to a more satisfying conclusion.

All in all, however, the focus is of course on the central acts, all quite diverse and well-chosen in this production so it was a pleasure to see this historical art-form back in town again 'live' being simultaneously surrounded by an enthusiastic and appreciative audience. 

Brian Adamson

Production images by Peter Wallis