In Artistic Director David Hallberg’s opening address, he welcomed audiences to Australian Ballet’s final opening night at the State Theatre before it closes for a three-year renovation. The company’s staging of Alice’s Adventure in Wonderland celebrates the magic of the past and the possibilities of what is yet to come.
Choreography from Christopher Wheeldon transforms Lewis Carroll’s novel from a wordy, literary delight to an immersive spectacle, fit with optical illusions, animated projections, 27 set changes and more than 350 costumes. It is an elaborate work, but executed with great skill, leaving the audience intoxicated and energised.
Benedicte Bemet’s portrayal of Alice shows both the character’s innocence and Bemet’s sophistication as a Principal Artist. She seamlessly interacts with the set and technology as Alice shifts sizes and swims in a pool of tears, while displaying exceptional stamina and technique, dancing for almost the full 160-minute ballet.
Bemet’s connection with Joseph Caley (Jack/Knave of Hearts) is sweet, beginning with an endearing exchange at a garden party and carrying through to their heartbreaking pas de deux in the final act. Larissa Kiyoto-Ward as the frenzied cook and Matthew Bradwell as the surprisingly charming executioner also find an enjoyable romance in the fantastical world, though their connection largely depends on butcher knives.
Nathan Brook is mesmerising as Raj/the Caterpillar, with a hypnotic fluidity in his movement, but with too little time on stage. George-Murray Nightingale is another standout as the tap-dancing Mad Hatter and Robyn Hendricks shows lethal precision and grandeur as the Mother/Queen of Hearts.
Bob Crowley’s costumes effectively convey the personalities of the central characters, with Alice in floating lilac, the Caterpillar in billowy, glimmering pants and the Queen of Hearts in a large, shiny red carapace (which is later revealed to be hiding the long-suffering King).
The corps de ballet are decked out in equally impressive costumes, with flamingo heads on the ends of sleeves and tutus shaped as the symbols of the four suits in a pack of cards. Yet, on opening night nothing seemed to delight the audience more than seeing the Caterpillar’s body shimmy across the stage with eight pairs of sparkling pointe shoes.
Projections from Jon Driscoll and Gemma Carrington hide elaborate costume and set changes, while animations paired with text progresses the story well, incorporating some of Carroll’s best-known phrases.
Toby Olié’s puppets complete the descent into wonderland. His Cheshire Cat is a large, looming presence throughout the evening, with its disjointed limbs expertly manipulated by dancers. His pink flamingo puppets, used as mallets, add a brilliant dynamic to the final croquet game, with the Queen’s flamingo fighting back against its wielder.
Read: Theatre Review: Swansong, Theatre Works
Much like Carroll’s novel, this Alice is equal parts wonder, delight and grotesque horror, sure to both unsettle and astound lovers of the classic tale.
Alice’s Adventures in Wonderland
The Australian Ballet with Orchestra Victoria
State Theatre, Arts Centre Melbourne
Choreography: Christopher Wheeldon
Music: Joby Talbot orchestrated by Christopher Austin and Joby Talbot
Set and costume design: Bob Crowley
Lighting design: Natasha Katz
Projection designs: Jon Driscoll and Gemma Carrington
Puppet design: Toby Olié
Conductor: Jonathan Lo
Concertmaster: Yi Wang
Cast: (for Friday 15 March 2024) Benedicte Bemet, Joseph Caley, Chengwu Guo, Robyn Hendricks, Steven Heathcote, Jade Wood, Lilla Harvey, George-Murray Nightingale, Nathan Brook, Timothy Coleman, Yuumi Yamada, Ben Davis, Larissa Kiyoto-Ward, Matthew Bradwell, Drew Hedditch, Yichuan Wang, Lucien Xu, Cameron Holmes, Brodie James
Alice’s Adventures in Wonderland will be performed at the Arts Centre, Melbourne until 26 March 2024.
