Down the Hole

Alice By Heart

Bombs are exploding everywhere and the sirens are directing everyone to take shelter. Wading through the debris, everyone heads down the hole into the Tube Station for safety. It’s 1941 and the London Blitz of WWII is in full force. The English refugees are a mixed lot. They include a no-nonsense Doctor, a brusque Red Cross Nurse, a spoiled young man and woman, who are clearly of the upper crust, as well as a variety of British commoners. But when teenaged Alice Spencer and her dear friend Alfred join the group seeking shelter, we learn that the young man is very sick and must be quarantined. Alfred is afflicted with incurable tuberculosis and, unfortunately, doesn’t have much time left in his young life. Thus, the fragile and filmy quality of Time weaves throughout the theme of this new musical, now enjoying its Midwest Premiere in Chicago.

 One thing that Alice and Alfred share is their love for Lewis Carroll’s Alice’s Adventures in Wonderland. They both enjoy the imaginative novel so much that Alice has brought a dog-eared copy of the classic with her. She’s hoping to offer some calm and comfort amidst all the chaos, as Alice and Alfred lose themselves in Carroll’s timeless fantasy. The insensitive Nurse, however, grabs the book from Alice, rips out the pages and throws them everywhere. But as the sirens wail and bombs burst above them, Alice, who knows the story by heart, begins sharing  the whimsy of Wonderland with Alfred, as well as with their fellow evacuees. Suddenly, Alice, Alfred and the other refugees morph into Lewis Carroll’s familiar and quirky characters. For the next 90 minutes, Alice will spend time negotiating her journey down the rabbit hole and through the contemporary underground maze of Wonderland.

As Alice dons a pretty lacy pinafore, reminiscent of the John Tenniel illustrations from the novel, she’s no longer Alice Spencer. She becomes Alice, the heroine of Lewis Carroll’s children’s story. Her friend morphs into the White Rabbit, a character, like Alfred, who’s understandably obsessed with the time he has left and with being late. The young man also turns into the March Hare later in the play. Alice is tormented by the Duchess, who calls her a Pig. She’s tempted by the Caterpillar (two of them, actually) to indulge in an hallucinating puff from their pipe or a mind-altering bite of their mushroom. 

As Alice gets high, she’s advised by the wily Cheshire Puss, answers the Mad Hatter’s maddening riddles during a tea party with the March Hare and the Dormouse, dances a raucous Lobster Quadrille and plays croquet with the obnoxious King and Queen of Hearts. The frightening Jabberwocky suddenly appears taunting Alice with hysteria and sadness. Then several Mock Turtles gather around the young girl and mock her, while wallowing in their grief. But then the Cheshire Cat reappears and, in the show’s most beautiful song, “Some Things Fall Away,” urges Alice to let go of Alfred. His time on earth is over, she sings, and, as Alfred’s best friend, Alice must face her grief and allow him to depart with dignity. The play ends with the entire company singing a lovely ode to life, “Winter Blooms.”

If theatre aficionados find the music in ALICE BY HEART somewhat familiar, it’s because the score was written by Duncan Sheik, the Tony and Grammy Award-winning composer of the hit musical, SPRING AWAKENING. Many of the 17 songs in this show have Sheik’s same delicate, acoustic-based, alternative pop/rock sound. There’s a certain melancholy mood that pervades his music, especially in his harmonies. Songs include “West of Words,” “Those Long Eyes” (another of the Cheshire Cat’s wonderful songs), “Brilig Braelig,” “Your Shell of Grief,” “I’ve Shrunk Enough” and Alice and Alfred’s final poignant duet, “Afternoon.” 

This one-act musical began life as a commissioned work in 2012 by London’s Royal National Theatre; but the show had its New York Off-Broadway opening in 2019. The libretto was cowritten by Jessie Nelson and Sheik’s SPRING AWAKENING collaborator, Steven Sater, who also provided the lyrics for the songs. The strength of this interesting adaptation of Lewis Carroll’s classic rests primarily in its score, rather than the somewhat confusing book. Theatergoers unfamiliar with the original source may have trouble following the story, although audiences will certainly relish the musical score. 

Kokandy’s multitalented Artistic Director, Derek Van Barham, has Choreographed his exceptional, 12-member cast and has Co-Directed the entire production with Brittney Brown. However, the 15-minute pre-show presentation that seeks to introduce the characters taking refuge in the underground bunker didn’t add anything to the play. It was just confusing and simply caused the production to exceed its 90-minute running time. The real strengths of this production are two-fold. First, Heidi Joosten’s excellent Musical Direction of her cast, including conducting her gifted offstage band, is polished and pristine. The voices in this cast are incredible. And second, Mr. Van Barham’s Choreography is especially exciting, energetic and electrifying. When the story falters, look to the movement and astounding vocal strength for clarity.

Caitlyn Cerza, whose gorgeous voice embraces almost every song in this score, nicely plays Alice. Ms. Cerza was seen in Kokandy’s  previous productions of HEAD OVER HEELS and HEATHERS. Caitlyn’s the glue that holds this story together and she’s simply wonderful, especially her lovely voice and expressive, empathetic face. We look forward to seeing Ms. Cerza in more future leading roles. She’s joined by the youthfully handsome and vocally vibrant Joe Giovannetti, as Alfred. This actor’s solid performance as a soon-to-be innocent casualty of the War is solid in every scene and musical number. Both Cerza and Giovannetti fill the theatre with their lovely duets, such as “Down the Rabbit Hole,” “The Key Is,” “Another Room in Your Head” and the heartbreaking “Afternoon.” Joe has already delivered sound, memorable performances around Chicago, especially at Theo Ubique in THE MOST HAPPY FELLA, THE FULL MONTY and THE SONDHEIM TRIBUTE REVUE, but this role will place him at the top of every casting pool.

The supporting cast, all of whom play several roles, includes the fabulous Mizha Lee Overn as Tabatha/Cheshire Cat. This incredible singer recently wowed audiences in Theo Ubique’s A LITTLE NIGHT MUSIC and here she casts a spell over Alice in at least four different roles, most particularly as Puss. Will Lidke, another multitalented young actor who continually impresses with any show he’s in, is a Londoner named Harold Pudding, but the Mad Hatter is his most role dynamic role of many in this musical. Mr. Lidke was seen in Kokandy’s remarkable AMERICAN PSYCHO, as well as the gender-bending title role in Theo Ubique’s HEDWIG AND THE ANGRY INCH. To my way of thinking, no show is complete without Mr. Lidke in the cast.

One of the hardest-working young triple-threats in Chicago is talented Patrick O’Keefe. Here he plays, among other roles, the arrogantly posh Londoner, Dodgy, as well as the delightful drag role of the Duchess. Mr. O’Keefe’s many talents were enjoyed in Kokandy’s SWEENEY TODD and HEAD OVER HEELS; at Theo Ubique in ASSASSINS and 8-TRACK: THE SOUNDS OF THE 70’s; and recently with Hell in a Handbag in their hilarious musical parody, POOR PEOPLE, as well as their thriller satire, THE DRAG SEED. And making his Kokandy debut, ruggedly dapper Darian Goulding is very good as the officious Doctor, scary as the unearthly Jabberwocky and hilarious as the befuddled King of Hearts. 

Returning to Kokandy Productions, Niki-Charisse Franco absolutely owns the stage in this show, both as the domineering Nurse and the maniacal monarch, the Queen of Hearts. Other talented cast members include Ezra Borrero, in his stage debut as the Dormouse, and other roles; Elliot Esquivel, making his Kokandy debut as a spaced-out Caterpillar, and other roles; comely songstress Alex Stetkevich, also in her Kokandy debut, plays the self-entitled Clarissa, a Mock Turtle and the Queen of Diamonds; and Emily Ling Mei and Peter Stielstra, both appearing with Kokandy Productions for the first time, as the graceful and ethereal younger Alice and Alfred.

Enhancing Alice and the other characters as they journey down the hole are some colorful and creative Costumes by Rachel Sypniewski, with Wig Design by the always wonderful Keith Ryan and expressive Makeup Design created by artist Syd Genco. The production features an extraordinary Lighting Design by G “Max” Maxin IV and a barrier-breaking Sound Design created by Matt Reich, with the assistance of sound consultant Mike Patrick.

As this musical retelling of Alice in Wonderland reminds us, time is fleeting—treasure every moment. But the script for this musical feels maddeningly muddled, so much so that it may even confound those familiar with the Lewis Carroll novel. However, Derek Van Barham’s production is quite fantastical and fun. The audience is rewarded with Duncan Sheik’s gorgeous musical score, beautifully sung by a dozen exceptional talented triple-threats and accompanied by Heidi Joosten’s terrific five-member band. Ms. Brown and Mr. Van Barham have filled the small, alley-style stage with memorable characterizations; and Mr. Van Barham has added appeal to the show by creating some inventive, vibrant and athletic Choreography that helps move the story. As we take this heady trip down the hole, theatergoers will definitely be reminded of how fragile and precious is our time on this planet.                             

Recommended

Reviewed by Colin Douglas

Presented July 18-September 29 by Kokandy Productions at Chopin Theatre in the Downstairs Studio Theatre, 1543 W. Division St., Chicago.

Tickets are available in person at the box office or by going to www.bit.ly/SweeneyChicago

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.