Curiouser and Curiouser: Fall Down the Rabbit Hole with Alice By Heart at Spotlight Theatre
by Meg Bryan
In all of its forms, art has become a sanctuary for many of us creatives, an escape from the often rough reality we face day to day. Spotlight Theatre’s Alice By Heart is a textbook example of the kind of art you can escape into, and I was honored to have been able to join this stellar team as they invited us to seek refuge with them in the whimsy of Wonderland for a while. The production as a whole overflowed with so much magic, I could swear every person on that stage sparkled.
The show was hosted in a space with a small elevated stage as well as ample floor space. Upon entry, the set was very minimal to begin which, for me, only built up the intrigue. As the show progressed, we were introduced to more set pieces constructed by Tom Mostek and a cacophony of props put together by Director and Choreographer L Bryce Welborn. Each element of set and prop design melded beautifully together, marrying the reality of the war-torn shelter at the top of the show with the purely fantastical Wonderland the characters quickly journey into.
Lighting and sound were both designed, but not run, by Ivie Wren who also played Alfred/White Rabbit in this production. The lighting throughout was striking, emphasizing bigger emotional moments with stark color changes and dimming down in the more intimate scenes. While there were the occasional audio hiccups, the overall sound was wonderfully balanced, especially in a space where sound bounced off the walls with little effort. It can be quite hard to balance sound in a space as alive as this was, and Wren did a wonderful job taking that on.
As mentioned previously, L Bryce Welborn both directed and choreographed this show. While both jobs were done equally expertly, their choreography in particular had my jaw on the floor at many different moments. They had the ensemble move as a unit in most solo numbers that were accompanied by dance. My personal favorite was “Chillin’ The Regrets” where many members of the cast lined up as if they formed a giant caterpillar, moving in ripples that were simultaneously smooth and sharp. Their use of the space and choice in formations and movement were all spectacularly done throughout.
Kristy Joe acted as Music Director, and what a stunning score this must have been to work on, with music by the late great Duncan Sheik and lyrics by Steven Sater. The vocals were like candy to the ear. Each harmony was simply perfection, you could have told me I was listening to the original soundtrack and I would have believed you. Their work was evident in how secure and confident everything sounded, and these are not easy harmonies to achieve.
The title character of Alice was played by Courtney “Birdy” Bird, and their performance was simply magnetic the whole way through. Alice’s story is intensely emotional in all facets, ranging from feeling on top of the world with the Caterpillars to despair and grief from the end of Act 1 onwards. Bird was wildly expressive, showcasing these emotional changes in a real and raw way, tugging the heartstrings of the audience. They brought a shimmering childlike wonder to Alice, especially during their time in Wonderland. Their vocals were phenomenal with a consistently strong and clear sound, which is a recurring theme within this cast, but especially when it comes to Bird. They had a lot of heavy vocal lifting to do with this stunning score, and they delivered it all with ease. This is not my first time watching Bird perform, and I certainly hope it is far from the last. Ivie Wren was breathtaking as Alfred/White Rabbit, Alice’s lifelong best friend who is bogged down by the unstoppable passage of time. Their vocal tone is a major standout to me, rich and smooth and pitch perfect. They especially shone during “Another Room in Your Head”, their voice almost hypnotic in how flawless it was. They match Bird’s expressiveness with an added dose of naivety, making the two a pair you couldn’t keep your eyes off of.
Each of our remaining players portrayed multiple roles, such as Rachel Grodek as Tabatha/Cheshire Cat. Grodek captured Cheshire’s sneaky nature, spending most of their onstage time perched on one of a few ladders strewn across the space, observing the scene ahead of them. They acted as a guide for Alice with their song “Some Things Fall Away” being used to advise Alice to continue moving forward to face her grief instead of running further from it. Grodek was mysterious and captivating with just the right amount of madness mixed in. One of my favorite moments was the entrance of the Caterpillars, played by Obsiidyn (also Angus/Others) and Tatiana Tapang (also Clarissa/Queen of Diamonds/Others). The two emerged from underneath the raised stage, pushing two of the panels out to crawl seemingly up to the surface to meet Alice. Their voices blended together effortlessly despite the difference in their tones, each contributing expert level riffs to their features. The pair embodied a strength in their presence, coaxing Alice to let loose and spend as much time with them as possible.
Julie Hamilton (also Dodgy/Others) brought the aggressive and maternal Duchess to life, who focuses on punishing Alice for growing up too much too fast. Their energy is bright and bouncy, even within the Duchess’ frustrations. They command the space with such poise and power, and their vocal chops throughout "Manage Your Flamingo” were astounding. Colby Crawford (also Harold Pudding/Others) as the Mad Hatter was frantic and filled to the brim with the classic goofy Wonderland madness. Crawford’s voice is stunning, paired with animated expressions through each of their tracks. They were someone who caught my eye periodically throughout the show in a great way, making lots of big and purposeful choices. Peter Largent (also Nigel/Others) was paired with Crawford and Wren (as the March Hare for a time) as the Dormouse. The trio of “Sick to Death of Alice-ness” was wild and frenetic, but the harmonies were consistently tight and strong in all three parts.
A.J. Krier was an absolute riot throughout their tracks (Dr. Butridge/Jabberwock/Mock Turtle/Others). From the frightful and unhinged Jabberwock to the overly anxious Dr. Butridge, as well as the silly King of Hearts and the blubbering Mock Turtle, Krier was a constant eye-catcher. They went big and bold in every aspect, and these efforts succeeded with flying colors in captivating the attention of the audience at every turn. As the Red Cross Nurse/Queen of Hearts, Lulu James was an absolute show-stopper. Their rendition of “Isn’t It a Trial?” blew me away with sheer vocal prowess. They demanded attention exactly how the Queen of Hearts should, with a blinding fire that cannot be doused. James brought the perfect energy to this track in their powerful voice, both when speaking and singing, and authoritative presence.
An element I loved was having Gabby Werner and the aforementioned Peter Largent portray younger versions of Alice and Alfred. As a first time watcher of this show, I’m unsure if this was specific to Welborn’s vision or if it is specified in the script. Either way, Werner and Largent’s performances brought in an amplified feeling of nostalgia whenever they appeared, especially right before Act 2 where they played and laughed together just like little children. The ensemble is completed by Lauren Handler, Mariah Jude, Kayla Bowe, Dance Captain Jessica Plaskon, and Swing Austin Satinsky who I was unable to see at this performance. Each and every one of these actors captivated attention in their own right while clinging together as a solid unit.
Stage Manager Tyler Baker along with Assistant Stage Manager Emily Feeley kept everything running smoothly with only very minor noticeable hiccups. With such a fast-paced and involved show as this one is, this is a feat that should not go unnoticed. Meredith Gaskill costumed the cast to perfection, allowing each of the multitude of characters to look distinct without needing to be drastically different from one another. I especially loved the Cheshire’s knitting growing as the show progressed from a hat all the way to a long cardigan.
Welborn writes in their program note, “Escapism does not always mean refusing to face reality. Sometimes it’s how we gather the strength to face it again.” This is a sentiment I cannot agree more with. While it is important to remain present in our world, no matter how dreary it is, having some form of escape is arguably even more integral to preserving your health in all facets. Alice By Heart shows us the heart of why it is so important to stay in touch with your inner child and never lose sight of your own personal Wonderland. Alice By Heart plays now through September 27th, you can purchase tickets here: https://spotlighttheatrepa.org/alice-by-heart/
