Alice's Quest for Wonderland

Fresh from their brilliant run of Jim Cartwright’s Two, Kingsley Players are back on stage with their own version, of Lewis Carroll’s most famous play, with the world premiere of ‘Alice’s Quest for Wonderland’, written by Lynn Pegler.  This play focuses more on the back story of Lewis Carroll and the real-life Alice, containing various facts about these characters, and their friends, as well as telling the story of how the famous play came about.  Lynn Pegler was able to cram various interesting facts into the script, such as the origin of his name as well as trying to make it engaging for the audience. 

Directed by Lynn Pegler (assisted by Kath Kerry), this play had a minimal set, used a cast of three, (two of whom multi-rolled) and was produced in a socially distanced cabaret style setting.  Whilst the script was interesting and informative, for me, there were various problems with direction from the start.  The play opened to a lullaby, sung by Jo Oultram, who was dressed in a nightie and carrying a teddy, which didn’t seem to add anything to the piece.  At various points throughout, the actors would narrate to the audience, breaking down the fourth wall, but in the next sentence, they would be in ‘Wonderland’ and playing the characters (from Alice in Wonderland) whilst both ignoring the fourth wall and breaking it down too.  For me, there were no clear distinct ‘rules’, and no clear distinct transitions between characters and scenes.  For example, Alice would be narrating to the audience then in the next second be talking to the white rabbit in a different location.  I suggest it might’ve helped the audience to have some sort of transition between locations, even something simple like turning to face the back before turning around again or a change in lighting.  There were also more opportunities to use the space (and lighting) to establish location, rather than playing everything in the middle.  As it was opening night, all three actors stumbled at times with their lines: often referring to the bits of script hidden in their props.  Overall, there was a lack of clarity between the real-life characters’ scenes and the characters from the book (scenes).  The pace was good throughout however, and the audience were certainly laughing in all of the right places which shows they were listening intently.  I liked the use of the set and the way that the two male actors went behind to change into a different character.  It might’ve been better however, if both actors were directed to use different sides of the set to give the audience more opportunities to see them.  I was sat slightly stage left, and at times, couldn’t always see the face of the actor who always went backstage (stage left).

Technically there wasn’t many elements which were added to this piece.  There was minimal lighting used and only a few sound effects (which were cued on time).  I felt that perhaps the lighting could’ve been used more to highlight location or subtext or tension etc.  The costumes looked nice and was of the period.  Two of the actors wore their own wedding rings throughout and two of the costumes really needed ironing (particularly Jo’s nightgown).  The props were a nice touch too, particularly the flamingo’s and tea pot etc – well done to the props team for their work!

Lynn Pegler played the role of Alice.  Lynn had lovely pace, diction, projection and articulation.  Even though she stumbled on some of the words at times, she had really good storytelling and captured the audience from the beginning.  Lynn used the script to read aloud to the audience, which worked when she was the narrator, but she also used the script in some of the acting scenes too.

James Partington played various roles but mainly the role of Lewis Carroll.  At times, James devoiced at the end of sentences and whilst I could hear everything, I doubt that some of the audience members caught all of the text.  I liked the fun and energy that James brought to the stage.  It’s clear that he was having a good time, and despite stumbling over some of the words at times, he had a great rapport with his fellow actors and the audience.

Simon Hetherington had his work cut out, playing many, many roles.  I was hoping for more differentiation between some of the characters, but he was entertaining, nevertheless.  Simon brought a good showman like quality and had brilliant projection and storytelling.  He was suitably funny when he needed to be too – the Butler (Barker) was great!  Simon had a great energy which helped with the pace.  For me, his physicality for each character was far too similar; often moving back and forth and facing inwards towards the other two actors (leaving the audience stage left looking at the back of his head a lot).  This is a directional point of view and something that could’ve been explored more in rehearsal perhaps? 

Whilst I credit Lynn Pegler for having the courage to write another good script, and whilst I appreciate the difficulties of rehearsing during the COVID pandemic (and without wanting to be overly negative in this review), I felt that there were a lot of areas that needed further development.  For me, more drama elements such as thought tracking, flashbacks and hot seating etc couldn’t been explored or used to help with the transition of scenes as well as the use of the space and technical elements.

Kingsley Players continue to produce quality plays; (having won various NODAs over the last few years), I just felt that this wasn’t up to their usual high standard.  In saying that, the audience really did seem engaged throughout and were very supportive in listening and laughing etc and that is what matters.  I thank Kingsley Players for their wonderful hospitality and cannot wait to return again next month for their youth production of Grimm’s Tales. 

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