“WONDERLAND”: Kelsey Theatre and Playful Theatre Productions have presented “Wonderland.” Directed by Frank Ferrara, the musical played September 18-27 at Kelsey Theatre. Above: A grown, contemporary Alice returns to Wonderland and encounters an R&B-singing Caterpillar (Emmanuel Ebba, front left) and a villainous, jazz-inspired Mad Hatter (Fola Walker, front center), along with Ensemble members Sheilla Kraft (front center right), Kori Wright (front right), Morris the March Hare (Michael Gearty, back left), and a Playing Card (Vaani Jain, back right). (Photo by Mark Violi)
By Donald H. Sanborn III
Kelsey Theatre has opened its season, titled “Kelsey’s Adventures in Wonderland,” with Playful Theatre Productions’ production of Wonderland. The musical returns a now-grown and jaded Alice, who lives in contemporary Queens, to Lewis Carroll’s eccentric realm.
The eclectic music — which blends pop, R&B, and jazz with Gilbert and Sullivan-style operetta and mid to late-20th century Broadway idioms — is by Frank Wildhorn, who initially conceived the show as an album that could feature Aretha Franklin as the Queen of Hearts, and Pink as the Mad Hatter.
Wildhorn’s story concept was inspired by a malfunctioning elevator in the apartment where the composer was living at the time; he imagined it returning Alice to Wonderland, which he describes as a “phantasmagorical place.”
The lyrics are by longtime Wildhorn collaborator Jack Murphy. Inspired by Alice in Wonderland and Through the Looking Glass, and What Alice Found There, the show’s original book is by Murphy and Gregory Boyd (the latter directed the 2011 Broadway production). A revised book is by Jennifer Paulson-Lee and Gabriel Barre.
It is interesting to note that Wildhorn is also the composer of Jekyll & Hyde (whose premiere and subsequent pre-Broadway tour were directed by Boyd). Like that show, Wonderland explores the idea of characters being extensions or alternate versions of the protagonist. A crucial difference is that in the former, Jekyll (understandably) wants to eliminate his alter ego; while in Wonderland, Alice needs to find one of hers.
Placing Alice in a contemporary setting made the concept of Wonderland fit tightly into the fantasy media landscape in 2011. The film Enchanted (2007) and the TV series Once Upon a Time (2011-2018) similarly derive humor and story ideas by juxtaposing the mythical against the realistic.
Unfortunately, this was not enough to give Wonderland a successful Broadway run. After receiving mostly negative reviews — some of which felt that the plot became focused too late, and that the musical failed to make clear what kind of audiences it sought — the show closed within a month. Subsequently, it was rewritten for licensing.
Frank Ferrara directs Kelsey’s production (assisted by Kendal Plumstead). He guides the creative team and enthusiastic cast through a staging that deftly incorporates Wildhorn’s contemporary, pop-inspired aesthetic.
Shannon Ferrara provides the crisp musical direction (assisted by Evelyn Balzer and E.J. Ferrara). In keeping with the varied musical style, the orchestra combines acoustic instruments with electronic keyboards. Both the orchestra and the vocal ensemble blend well, a credit to Ferrara and Sound Designer Evan Paine.
As the orchestra plays the Overture, illustrations reminiscent of the original novels, depicting Alice’s original adventures, are projected on a screen — a visual overture to accompany the musical one.
Later, the projections simulate a slideshow (designed by Ferrara) that accompanies a presentation Alice has to give at work, but with sassy comments and mysterious paw prints. (Alice conceives a chess-related video game. In a wink at another pop-flavored show, the logo for the musical Chess is projected.)
Although successful in her career, Alice (portrayed by Jennifer Fischer) is facing increasing pressure at her job (at a video game company), where she and another colleague must conceive a chess-centered game to determine who will replace the retiring CEO (played by Denise Carey, who later portrays the Queen of Hearts; Costume Designer Michelle Rittmann-Littlehales links the two by dressing both in red).
Her personal life is fracturing; following a separation with her husband, Jack (Aidan Stallworth-Glitz), she has moved to Queens with her young daughter, Chloe (Vaani Jain). Despite the separation, a frazzled Alice is increasingly depending on Jack to take care of Chloe.
Chloe is given comparatively little to do after the first scene (in which she gives Alice her doll, Dinah, for good luck). However, Jain is charming in the stage time that her character gets; this includes “Home,” a wistful opening trio that she sings with Fischer and Stallworth-Glitz.Later, Jain is given a dual role as a Playing Card.
Staying late at the office to prepare for her presentation, Alice bemoans the “Worst Day of My Life” The rhythmic up-tempo number reveals the considerable vocal power Fischer brings to the role; and includes deft use of vertical levels by Ferrara and Choreographer (and Associate Director) Joan Schubin. At one point Alice stands high on a chair — a tableau that later will be inverted when the Wonderland characters peer down at her.
In a likely nod to Wildhorn’s inspiration for the show, Alice soon follows the recognizably uptight White Rabbit (Megan Thompson) “Down the Rabbit Hole” in an elevator-like contraption.
After she arrives, the ensemble bids her “Welcome to Wonderland.” In this and other songs, Alice is placed at the perimeter of the cast — the outsider looking in. The Wonderland characters’ exuberance contrasts with the tense reserve with which Fischer infuses Alice.
Without having seen the Broadway production, I cannot compare it to the licensed edition, but the revised book generally keeps a balance between lively moments for the Wonderland characters and focusing on Alice’s journey. The revision seems to lower the stakes a bit; in the original, Chloe is kidnapped in Wonderland, whereas in this version the Dinah doll goes missing. Nevertheless, Alice’s eventual quest to find a young girl (Ella DeAntonio), who turns out to be a young version of herself (who turns out to have the doll), leads to “Once More I Can See,” a duet in which Fischer and DeAntonio are lovely.
Emmanuel Ebba is delightfully flamboyant as the feisty and enigmatic Caterpillar, and stops the show with the character’s Soul-flavored “Advice from a Caterpillar.” As the sinister Hatter, Fola Walker is equally memorable in “The Mad Hatter,” a brisk cabaret-type number that recalls the uptempo songs that Wildhorn and Murphy wrote for pop star Linda Eder.
In his dual role as the White Knight, Stallworth-Glitz is affable in the smooth ballad “One Knight,” a song that evokes the music of late 1990s boy bands, nicely reflecting the character’s boyishly charming (if naïve and immature) personality; and in the second act’s “Love Begins.”
William Kamps (who played the title roles in Kelsey’s 2024 production of Jekyll & Hyde) plays a character, identified only as a mysterious “Man,” who helps Alice late in the show. Kamps’ sturdy high baritone serves “I Am My Own Invention” well.
Makeup Designer Jenna “Jay” Moschella makes the Queen of Hearts’ cheeks as rosy-red as her costume. As the Queen, Carey is entertaining in the operetta-esque “Hail the Queen.” It adds a nice layer that the authority figures — the Hatter and the Queen — are given the older (read: establishment) musical idioms.
Fischer and Walker play off of each other well to make “I Will Prevail” into the climax that it needs to be. Fischer is exquisite in the show’s sweet closing anthem, “Finding Wonderland.”
The cast is ably rounded out by Anthony Fania and Simon Hamilton as, respectively, Cheshire Cats I and II; Michael Gearty as Morris the March Hare; Aaron Ferrara as a Goblin; and Ensemble members Lucy Fisher Alvarez, Sheilla Kraft, Emly Moran, Jay Moschella, Ethan Shaev, and Kori Wright.
Scenic Designer Shawn Simmons effectively reinforces the story’s game motif. On the stage are colorful squares that evoke a chessboard, while numerous playing cards hang in midair.
Vicki Kaiser’s lighting is by turns eerie and discotheque-style flashy, depending on the show’s needs. Occasionally the focus of the lights is a bit confusing (for example, the front rows of the audience are lit, leading one to think actors are going to use that area when they do not), but nonetheless Kaiser is skillful in enhancing the moods of the piece.
Rittmann-Littlehales’ costumes do much to make Wonderland as exuberantly colorful as it needs to be, while reflecting an edgy pop concert aesthetic suggested by the music. The Caterpillar’s yellowish green, and the Hatter’s bright red outfit (rounded out by dangerously smooth leather black pants and a Bob Fosse-esque bowler hat) contrast with Alice’s conservative dark aqua dress.
Wonderland probably could use one more rewrite. The often clever script could better develop certain aspects of the story (especially the relationship between Alice and Jack). The often intricate, even cerebral dialogue is sometimes at stylistic odds with the catchy and attractive songs, many of which are declamatory set pieces.
Nevertheless, Playful Theatre Productions’ vibrant staging demonstrates that an uneven show still can have wonderful aspects that merit staging, and offer actors rich material from which to give lively performances. Wonderland gives Kelsey a successful start to what promises to be an exciting season that will include Little Women, 1776, and Little Shop of Horrors.
For information about Kelsey Theatre’s upcoming productions, visit kelsey.mccc.edu.