(Posted December 4, 2004)

NASHVILLE, Tenn. – Walt Disney wouldn't recognize Wonderland, but Andy Warhol would.

He'd probably predict more than 15 minutes of fame for this arresting People's Branch Theatre premiere production, too.

Nashville playwright Ross Brooks has taken the Alice's Adventures in Wonderland and Through the Looking Glass novels by Lewis Carroll and electrified them with a multimedia show that takes us down the rabbithole as never before.

Brooks' play is brought to startling life by some of Music City's best actors, a talented dance trio and a funky, jazzy original score.

Carroll's novels inspired a disappointing 1951 animated feature film that Disney himself thought somewhat heartless. There is heart here, but it's playfully twisted into a pop-culture kaleidoscope of video screen images and colorful costumes.

This show focuses on Alice's transformation from naive girl to assured young woman. When Alice (Denice Hicks) follows Cat (Marlon Styles) through the looking glass, she enters a world where Wonderland is not some fairy tale state. It's a nightclub run by the March Hare (Misty Lewis), and if you can make it there, you certainly can make it anywhere. If not, you'll have to answer to the Jabberwocky (the Victory of Praise trio from Mt. Zion Baptist Church).

Hicks has to play a wide-eyed 10-year-old at the play's start. The 44-year-old actor pulls it off, and takes us through Alice's transformation with the assured skill that few here can match. This role suits her well, as it allows her to use her experience and well-tuned physical instrument to the fullest. It's another top-flight performance from a very gifted artist.

Styles, whose credits include a memorable appearance as blues musician Floyd "Schoolboy" Barton in a 2003 production of August Wilson's Seven Guitars, is an absolute charmer as the Cat. His cutthroat agent of a Caterpillar and his nutty Mad Aunt Hattie add to the fun. He brings clear choices and smooth delivery to his multiple roles.

Lewis continues the upward arch that began at Nashville Children's Theatre and has continued with successful appearances at Tennessee Repertory Theatre, Nashville Shakespeare Festival and PBT's recent production of The Idiot. Her March Hare is a manic bundle of nerves; her schizophrenic Tweedle Dee/Tweedle Dum is a schizophrenic marvel; and her Red Queen a torch singer that tears her heart out while piercing ours.

The Victory of Praise trio (Karen Coleman, Hilda Parks and Ronja Roland), who serve the show as its Wonderland Dancers, add bold strokes to the play's portrait with their dancing around and reactions to their fellow performers. Their work with Styles when he appears as the Caterpillar, for example, enhances that scene quite imaginatively.

Filmmaker Nathan Shuppert's video images, particularly those broadcast on a large upstage screen, are cleverly weaved into the live action. Pete Vann's tech-age set and lights add to the multimedia feel, while Paul Hull's characterized costumes give the show a good dose of whimsy.

Director Holly Allen has brought all of these elements together in a cohesive 90-minute show. There's no superfluous blocking, and the pacing is balanced.

Wonderland continues the momentum that The Idiot started. Artistic Director Matt Chiorini and Allen, PBT's Associate Artistic Director, should be proud of the theatrical contributions their troupe is making to Nashville theater. Their work so far this season is, well, wonderful.

To See The Show…

Wonderland ended its run at Belcourt Theatre on Dec. 11.