Gothenburg City Theatre
Alice in Wonderland by Lewis Carroll
Translation : Ake Runnquist
Processing and direction: Anna Pettersson
Set design: Lisa Hjertén, Anna Pettersson
Cast: Carina Boberg, Marie Delleskog, Ulf Drakenbergsgatan, Gizem Erdogan, Sven-Åke Gustafsson, Carina M Johansson, Adam Lundgren, Jan Unestam
playing through May 27
the City Theatre is Alice in Wonderland, kicking a theatrical adventure that loses its main character on the road. Lis Hellström Sveningson wonder what the delicious dream about.
Those who want to develop and transform the theater seeking to have well beyond the traditional dramatic text. The actor and director Anna Pettersson are interested in, and usually with great success, modern technology to access the deeper layers of their sets. Her performances of Strindberg’s Miss Julie on the New studio the other year gave the city theater – and certainly also the audience – wanting more. Now she is here and engineer Lewis Carroll’s ground-breaking children’s classic Alice in Wonderland with the entire Great scene arsenal available.
I wonder what the genial designer of stage machinery, theater magician Knut Power, would have said of Petterson’s theatrical imagination. During the break, I underline past his bust at the entrance to the parquet left side, and I do think he looks to cozy up there in the corner.
The massive circular horizon where’s idea and Anna Pettersson know to use it with a vengeance . Here, Alice falls, with a sucking feeling down in the hole – in film projection, it looks like a throat, it is the way inward, we should follow? It is a striking and dramatic start, with loud noises, flashing lights, and Gizem Erdogan flying across the stage in the middle of the image stream. Deftly she moves so we actually see and hear her screaming horror how she falls. It’s theater magic at a high level.
But to indulge in illusions just is not Anna Pettersson’s melody. Shortly stands Erdogan at the ramp and gives a short lecture on Alice, Carroll and the time the book was written in. It was published 1865th
Then take the set of the freedoms it wants. Both the base material and expressions. If you are not familiar with Alice in Wonderland, you can have a fun night anyway. The pictures are what I remember most. But while this is one of the set’s problems; what is really being told? And what makes Alice here?
First, as the last time: this is not a children’s show. City Theatre indicate the appropriate age from 13 years. Not because it is nasty, but the fairy tale fantasies and nonsense aimed at stupidities in adult life.
Anna Pettersson declare that the work has not started from a written script. Instead, she returned to storytelling, who were Lewis Carroll’s initial version.
With improvisation as a method, the ensemble vaskat up scenes and characters from Wonderland, some even from Mirror Wonderland, Carroll’s follow-up Alicebok. Visually it is clever and colorful. Carroll puns are traded in bildlek, not just words.
Anna Pettersson and Lisa Hjertén deploying scenographic elements functional structures in the images Max Marklund video and Max Mitles lighting design effective paint. Fund of birch trunks and twelve distinct spotlights on the stage floor to form an infinite place around the lonely Alice in the beginning. Keyhole and doors are opened and closed in a snap. Knut’s starry (small holes with lamps in round horizon) plays as beautifully as the glittering variety show curtain. The umbrellas that hung in the sky becomes a delicious caramel.
Lisa Hjertén costumes save nor gunpowder. Gizem Erdogan Alice is dressed in plaid pants, long shirt and jacket, completely in style with the cocky bluntness, she performs with. Carina Boberg progresses as the caterpillar into a diggande parade of lights and smoke, but it stays that without work, with smoke rings out over the audience – a festive part of the theater’s magic box.
Even real trick, put it on, Jan Unestam is not only hatter but tonight magician with everything possible under the cap. Sven-Ake Gustafsson will show that the Queen is naked – at least on the butt.
The rabbit remains only the teeth. Adam Lundgren in the role is a överklassdodde with rear slick, tennis advertiser dazumal and sports car of genuine theatrical brand.
But must Stockholm Directors always wallow in what they believe is part of Göteborg? Carina M Johansson in the cat’s role, a faded kitty who is tired of the time, also seems utless the idea.
There are adults vanarter in our time as the set makes nonsense of art. Sometimes with good accuracy and humor, the ensemble is on the toes. Sharpened is Tweedle Dee (Marie Delleskog) and Tweedle Dum (Carina Boberg) with stylized Nazi steps and iron bars behind his back. And it’s a life raft Liseberg Fry Oppenheim turned into?
Alice in Wonderland played as a number revue interspersed with meta-comments. Alice herself becomes an observer, in the periphery. In a replica Erdogan points out that she is actually the main figure. Is it because the pitch is so high? Tiring in any case all screaming.
After all the dazzling theatrical feast, I sit there and wonder, who was it that dreamed? About what?