These days are strange. And, considering how hugely entertaining it is, it’s a bit odd to think of Off the Wall Theatre’s Alice In Wonderland as being the least brilliant piece of theatre in Milwaukee right now. The standard set between Next Act, Renaissance Theaterworks, the Skylight Opera Theatre, Youngblood and so on . . . the standard set between all the rest of the shows in town make an obscenely fun production of Alice In Wonderland seem slightly less accomplished in contrast.
I was fully expecting to love this production, envisioned and darkly directed and adapted by Jeremy Welter. The fact that it was capable of living up to high expectations without being a disappointment says a great deal. One of my favorite actresses, Liz Mistele is dazzlingly twisted as a psycho club girl mutation of the character from Carroll’s classic books. Mistele is brilliant in this kind of role and she really excels here, albeit without dazzling beyond expectation. Mistele could play this kind of twisted, tweaked-out character countless times every year and it would never fail to be satisfying on some level.
(In a nearly unrelated note, two out of three Milwaukee stage actress Lizzes are appearing in some fashion as Alice this month. As mentioned before Liz Shipe appears as Alice in the Urban Fairy Tale gallery photo exhibit at the Milwaukee Gay Arts Center. Shipe told me she recently met Mistele. (People who had known the two of them had assumed the two had already known each other.) A production with the two of them and Liz Whitford would achieve a weird alignment of impressive Milwaukee Liz stage talent--a Milwaukee Elizabeth stage actress hat trick of sorts.)
With a physical aesthetic and background story grounded in the kind of ‘90’s raver culture that so openly embraced Alice In Wonderland in so many ways, the production isn’t going to appeal to purists—even those who see the darkness and madness in the original text. Purists of Carroll’s original works may be missing the point a bit . . . Carroll’s books were a deliciously safe journey into madness. A big part of that madness, beyond the particulars of British culture spoken of in the text, was the madness found in the loopholes the English language. The dialogue as brought to the stage by Welter’s script remains a lot more faithful to the original passion for weird loopholes in language than any other dramatic adaptation I can ever remember seeing.
It’s not a perfectly polished production, but there are a lot of hugely enjoyable details in here. When the trial of the Queen of Hearts’ missing tarts arises, there’s that distinctive TV theme song for Law and Order. Welter’s Mad Hatter is wearing an Alice in Wonderland t-shirt from the old Animated Disney movie. At one point the Door Mouse appears to be reading from a Samuel French-published copy of a previous adaptation of Alice In Wonderland.
That last bit was particularly interesting as it tied-into a recent trend in Alice adaptations. Both the recent Tim Burton film and the Sci-Fi Channel miniseries, as I recall, suggested more than one “Alice,” visiting Wonderland in various points in its history. Welter’s script does a clever job of wrapping all the Wonderlands together in an endlessly plural universe. Each adaptation, Off The Wall’s included, is a separate instance in an endless series of Alices tripping their way through the madness. It’s a compellingly interesting idea that wraps the production together quite nicely.
It’s not perfectly flawless, but this particular Alice In Wonderland is an inspired brush with madness in a studio theatre that lies in the shadow of much bigger productions downtown.
Off The Wall Theatre’s production of Alice In Wonderland runs through February 13th. For reservations, call 414-327-3552. A concise review of the show runs in the next Shepherd-Express.
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The production certainly has moments of fun. But overall the "production" felt as though it belonged somewhere between a high-school play and some angsty teen's early college project.
At this point I believe that my family is finished with attending shows at OTW. When we discovered the space a handful of years ago, Gutzman and company seemed to care and there was a great energy. But show after show featuring Welter forced into roles has left us confused.
Unfortunately this production helps to solidify the obvious fact that Welter needs to mature and should no longer attempt to be the angst filled teen who still lives with mom and hasn't even begun to venture out into the real world enough to have the dark thoughts and emotions that he overacts on stage.
The production IS nearly a worthwhile effort in some few respects and conceptually it is an interesting, if not entirely unique view of the story. But I believe Bickerstaff was attempting to gently suggest that Welter and others get out and witness the quality that other companies are producing for their audiences instead of constantly patting themselves on the back for offering substandard faire.
And don't worry, I'm sure the next comment will be about how I obviously am not intelligent enough to understand what Welter was trying to accomplish or that I was shocked because it wasn't Disney.
Unfortunately Disney's may have actually been darker and more shocking.
Ending on a somewhat positive note. Nobody should allow my opinion to sway you from not seeing this show or any other at OTW. It is a fascinating group of people who often offer a unique, even when horribly flawed and substandard, perspective on theater and the theater culture in Milwaukee.
Normally I let things roll of my back "Will". but regardless of how you feel about this show or me on stage, attacking me on a PERSONAL level shows something about your maturity more than mine. I can ASSURE you there are family issues at play that dictate my living situation and take strong offense at you suggesting otherwise. You obviously think you know me. You don't.
I cannot testify as to Welter's life experience or specific intent for this production, however, it came across as dated. I felt as though Welter was trying to convey intrigue or darkness with shock value but the scenarios and technique used would have been considered old in 1995. This production lacked a true personal perspective based on life experience.