Lookingglass Alice spectacle review

Eric Decker

Lookingglass Alice

Lookingglass Theatre Company, Chicago

In the first scene, the elements of spectacle used thoughout Lookingglass Alice are introduced to the audience: acrobatics, music variety, abrupt and dramatic lighting, creative use of space, and support from the technical crew. Director Catlin has a wide vocabulary of theatrical language to use, and while it can be overwhelming at moments, it also expands the ways actors can communicate with an audience beyond traditional stage shows.

What was from my seat a nostalgic, reminiscent beginning of an older man looking back on his relationship with young Alice, was radically different for those on the other side of the audience, who, presumably, saw a young girl playing and singing. The stage curtains dramatically parted, revealing the mirrored illusion, and served as a heads-up to the audience: all is not what you think – there are layers and depth to explore metaphorically and theatrically (a theme of the spectacle all through). Also, the expansive use of the space required constant technical presence, which in the first scene was introduced through the initial curtain speech (“mind your fingers and toes”), stage manager cues, and the crew clearing the first set and prepping the Sea of Tears. This early initiation allowed the audience to recognize how the show would be approached, and realigned our understanding of the conventions to be employed. With many other elements of spectacle, the first scene continued to establish the parameters (or lack thereof) of the playing area; these two examples (use of space and technical presence) illustrate the principles employed.

The effect of the spectacle of the first scene is to prepare the audience so we can immerse ourselves in the world Catlin has constructed using a broader language of communication. Once this is established, Alice struggling, then soaring through the ropes later in the play can elicit a strong physical and emotional response to her overcoming her obstacle in a way traditional texts resist.