Alice in Wonderland
at St. Stephen's & St. Agnes School

Reviewed on November 8, 2013

Marielle Burt
McLean High School
Submitted for publication to Washington Post - Alex/Arl

What a strange dream! Yet Alice's strange and perfectly peculiar fantasy world never fails to delight. Such is the case in St. Stephen's & St. Agnes School's production of the classic tale "Alice in Wonderland."

One of the most enduring children's stories, Lewis Carroll's Alice in Wonderland has inspired countless translations for theater and film. In this theatrical adaptation by Madge Miller, a dash of mystery is added to the timeless adventure: Alice is in search of a thief! The villainous Red Queen has given a plate of sugar tarts to the White Rabbit for safekeeping, but the tarts inexplicably vanish. To save the White Rabbit from the Queen's wrath, our doe-eyed Alice wanders through Wonderland to catch the culprit, meeting sundry "curiouser and curiouser" characters along the way.

Leading the show as the daydreaming adventurer herself, Sarah Koch brilliantly captured the bravery and curiosity of the iconic Alice. Her airy voice and enchanting smile gave her an endearingly innocent demeanor. Whether she was caught between Tweedledee and Tweedledum's bickering or in a trial surrounded by hot-tempered playing cards, her unwavering optimism made her the perfect storybook heroine.

The supporting cast of beloved Wonderland misfits leapt strait from the pages of Carroll's novel, filling the stage with whimsy. Recreating the topsy-turvy world beneath the rabbit hole, the actors devoted themselves to the farcical incongruity of the script. In particular, the Knave of Hearts (Josh Movius) and the King of Hearts (Alex Collins) deftly drew laughs with their quick wit and unabashed physical comedy. As the Knave stole the King's crown and danced a spastic jig around him, the King's unaware, snobbish gestures sent laughter resounding through the auditorium. Though other small scenes seemed to drag at times, the ensemble's zeal made the group scenes highlights of the production. In the climactic courtroom scene, the jury of Wonderland citizens cowered from the Red Queen and gasped in perfect unison each time the Queen shrieked "off with his head!"

The mesmerizing tech of the show was vital, for there can be no "Alice" without "Wonderland." The stage was draped in shimmering flora, and a rotating set piece on center turned magically to reveal each new scene. The lighting elements were stunning, and the visual contrast in lighting between the real world and the world of Wonderland was especially effective. The makeup was equally impressive: the makeup artists skillfully transformed the faces of the animal characters into the creatures they embodied.

With St. Stephen's & St. Agnes School's rendition of Wonderland, we are delightfully reminded, "We're all mad here!"

Isabel Zapata
McLean High School
Submitted for publication to Washington Post - Alex/Arl

As much as she yearns to sing with the Mad Hatter and guzzle the Duchess's pepper-ade, Alice has no time to spare. The Queen of Hearts' cherished sugar tarts have been stolen, and the White Rabbit's fate depends on whether or not Alice can find the thief. On the St. Stephen & St. Agnes stage, a visually bewitching production of Alice in Wonderland lures the audience down the rabbit hole and into the marvels of the imagination.

Under his pseudonym Lewis Carroll, Charles Dodgson wrote Alice in Wonderland as a children's novel in 1865 and has since become one of the most influential authors in the fantasy-writing genre. One of the prime examples of nonsense literature, Alice in Wonderland uses sensible and nonsensical elements to defy language conventions and logical reasoning. Dodgson illustrated the original manuscript himself, totaling 37 illustrations that were printed in a facsimile edition in 1887. As the original work is now in the public domain in all jurisdictions, the book has inspired countless film, television, and stage adaptations, including the version chosen by this cast and crew that was written by Madge Miller.

As the valiantly determined and endearing Alice, Sasha Koch aptly becomes the sprightly child bent on saving her friend from the wrath of the Queen of Hearts. Staying true to the overwrought personality of the White Rabbit, Sibet Partee ably portrays her character through restless physicality and meek compliance when confronted by the Queen. Admirably giving the Duchess convincingly terrible posture and delivering her lines with her own witty twist, Jewell Dupree keeps up her energy and has the audience chuckling throughout her scenes. Just as hilarious and twice as eccentric, Tre Vaughn Allison as the Mad Hatter characterizes his role through splendid comedic timing and full devotion to enthusiasm.

The production features the strength of its ensembles. Particularly in the croquet game, the cast members work off each other to keep up the energy of the show and compellingly dedicate themselves to their characters. Exceptionally creative is the way the way the Cheshire Cat is presented, with its ability to appear in multiple places within seconds. Three cast members with the same costume and make-up are positioned in different locations on the set to give the illusion that the cat materializes in different places, boosting the supernatural atmosphere of the show.

The crew pays meticulous attention to its technological aspects, particularly flourishing in make-up, set, and props. The White Rabbit's home features a whimsical twist on paintings of the Mona Lisa and the Girl With the Pearl Earring, featuring fantastic artwork of rabbits replacing the original models. Exceeding the usual paint-on whiskers, the make-up department applies foam latex prosthetic masks to the animalistic characters in the show. These applications manage to keep from interfering with any of the actors' microphones and even succeed in concealing the devices as part of the extensive make-up. Intricate attention to detail is given to the creation of the set pieces that feature a rotating centerpiece, shifting from a multi-purpose doorway to the inside of the White Rabbit's living room. The lighting crew remains on cue and effectively matches their mood light to the excellent, student-composed music to create a well-rounded and dreamlike atmosphere.

Full of humor, enthusiasm, and magic, St. Stephen & Agnes's production takes its audience deep into the rabbit hole where a diverse and talented cast and crew commendably honor Lewis Carroll's classic tale.

Swetha Ramesh
Langley High School
Submitted for publication to ShowBizRadio.net

Colorful hanging clocks, plentiful foliage, and twinkling lights accompanied Alice as the audience went "down the rabbit hole" in St. Stephens and St. Agnes' recent production of Alice in Wonderland.

The play, based off the classic 1865 novel by Lewis Carroll, shares the story of Alice as she stumbles into Wonderland--a fantastical place filled with memorably wacky characters. As Alice struggles to navigate through Wonderland she finds herself caught up in a mystery as she investigates who stole the Queen of Hearts' sugar tarts and helps clear the White Rabbit's name in this comical whodunit.

The production was tethered by the dynamics among the ensembles as each character delivered a satisfying performance both on their own and with each other. The creative lighting, the clever use of sound, and the humorous interactions among the characters all contributed to the surreal feeling of being in Wonderland.

Alice, played by Sasha Koch, depicted effectively the innocence and naïveté typical of Alice. The shock and confusion of being in Wonderland was apparent as Alice flitted from one end of the stage to the other for the entire production in her signature blue frock. With exaggerated gesturing and a sweet voice, Sasha Koch brought charm and character to Alice.

The students in this production portrayed the eccentric characters with great energy. Tre Vaughn Allison delivered an impressive performance in his role as the very loony Mad Hatter with his flamboyant moves and memorable musical number, proving how "mad" the Mad Hatter really could be. Other standout characters were the comedic duo of Christian Osborne and Aaron Brackett as the Red Knight and the White Knight. In a laugh out loud duel the gallant knights gave dimension and spirit to their characters with their playful banter and over the top chivalry. The Chesire Cat played by Camille Jones, Nicki Gray, and Bobbie Benjamin was the highlight of the show with the cat magically popping out and disappearing with perfect timing, never missing a beat.

This production was defined by the admirable skill of the students working on the lighting, sound, and tech. With a rippling water effect in the opening scene, the techs set the stage for a production filled with eerie echoes, bright colors, and bouncy music. Though here and there minor sound and light difficulties were apparent, overall the tech in the show took the production to another level.

St. Stephens and St, Agnes depicted the world of nonsense and illogical conclusions that is Alice in Wonderland with great flair and effort, leaving the audience wondering alongside Alice: "could it have all been a dream?"

Alexis Apostolou
Langley High School
Submitted for publication to Insidenova - Sun Gazette

Plummet into a world of fantasy and eccentricity, where Alice knows not who she is or why she is here, and anything is possible. This is the world of Wonderland: vibrant, mysterious, and curiously fascinating. In St. Stephens and St. Agnes' Stage One Players presentation of Alice In Wonderland, the lines differentiating dreams and reality are blurred as we follow Alice's journey through a world of imagination.

Lewis Carroll's novel called Alice's Adventures in Wonderland, written in 1865, inspired fascination with both children and adults as the story played with the idea of dreamland fading into reality. The whimsical narrative tugged at readers' logic, forcing them to decide whether Alice was simply dreaming, or had actually traveled to a distant and peculiar land. In the play, Alice became bored while sitting with her sister and soon dozed off into a deep sleep. She was flung into another world, completely unaccustomed to the wild world of Wonderland. However, soon Alice finds herself tangled up in the middle of the search for the Red Queen's sugar tarts. Her quest to find the tarts in order to save her friend the White Rabbit weaves Alice through all parts of the wonderfully kooky Wonderland.

Sasha Koch's naiveté and wide-eyed gaze embodied Alice's iconic role and served as a calm oasis from the outlandish characters of Wonderland. Standout performances included Camille Jones, Nicki Gray, and Bobbie Benjamin who masterfully accomplished the smooth-mouthed and sly role of the Cheshire Cat as they popped out from different spots of the set, seamlessly giving the illusion the cat was disappearing. Tre Vaughn Allison transformed himself into an off-kilter and bizarre Mad Hatter. As the King of Hearts, Alex Collins evinced timid and anxious behavior through jerky and awkward movements that uniquely emulate eccentricity.

As a group, the Stage One Players created a maelstrom of excitement and chaos in group scenes such as the Court Room Scene. The business of the actors and the full utilization of the whole stage offered a hectic yet dreamlike vision of Alice's experience in Wonderland. Despite many characters' one-note gestures and simple expressions, the cast of Alice in Wonderland worked together to produce a vibrant and imaginative show. Some scenes were slow and strayed from the main objective of the plot; however, each individual scene offered something singularly colorful and interesting, causing the viewer's eye to dance across the stage.

The props and sets of Alice in Wonderful were outstanding, always adding interest and direction in the scene. Eclectic props and versatile stage pieces made transitions smooth and interesting. Leafy masses lined the background with consummately placed portals for characters to appear. From tilting tables to mismatched teapots, the set was covered in props that did not take away from the actors. Rather, they added to the chaotic, yet charming aura of Wonderland. In addition, the makeup was phenomenally designed and executed. Three-dimensional animal noses completely transformed actor's faces, allowing them to represent their character in entirety, while brilliant colors lined the faces of others. Aside from a few noisy set pieces and conspicuous stage tech members, the tech overall was precise and inventive.

Alice in Wonderland was originative and fanciful as the Stage One Players led the audience through their wonderland. Vivacious and sprightly actors accompanied by exotic sets, props, and makeup made Wonderland as delightfully fresh as it was classic.

Aliya Qureshi
Stone Bridge High School
Submitted for publication to Patch.com - Alex

The stream reflects light onto Alice and her sister Margaret enjoying a quiet afternoon. All is peaceful until Alice falls asleep; then the curtain opens and the psychedelic journey begins. Curtains open on a beautiful rotating set, and morph dancers spin through the space as Alice tumbles down the rabbit hole.

Madge Miller's stage adaptation of the 1865 novel Alice's Adventures in Wonderland's sequel Through the Looking-Glass, written by Charles Lutwidge Dodgson (under the pseudonym Lewis Carroll), is different from Disney's animated version where Alice chases the White Rabbit. Here we follow Alice's detective work as she questions the inhabitants of Wonderland, trying to discover who stole the Queen's sugar tarts, before the wrongly accused White Rabbit is beheaded.

Sibet Partee's physicality as The White Rabbit makes her anthropomorphic creature whimsically believable. Freshman Sasha Koch's Alice is childlike and full of awe in this strange new world. She never breaks character despite being on stage for the entirety of the show. Tre Vaughn Allison's impeccable comedic timing and sassy take on The Mad Hatter are juxtaposed with the witty and cynical March Hare (Rob McPherson). The adorably narcoleptic Dormouse (Nancy Brooks) rounds out the tea-party scene that caps the first act.

Comic duos like Tweedledee and Tweedledum, played by Ellen Stevens and Sarah Lowe, the elderly Duchess (Jewell Dupree) and the noodle-bodied Knave (Josh Movius), and the Red and White Knights (Christian Osborne and Aaron Brackett) contribute entertaining side stories. The flamboyant King of Hearts (Alex Collins) is diametric in demeanor to his wife, the Queen (Sisi Rojas), and lightens her control-freaking rampages.

Water reflections, nighttime shadows, and flashes of color lend emotion to the set. But for a few microphone glitches, sound is on point; effects including chimes and bells signal movement and thought. The slanted tea table turns fancifully and remote-controlled hedgehogs add to the croquet magic. A well-oiled technical crew and a moveable centerpiece create the illusion of a rotating stage. Student composer Heather McPherson's arcade-like music creatively covers scene-changes.

The trees of the forest hide ladder rungs enabling the bodiless Cheshire Cat (synergistically played by Camille Jones, Nicki Gray, and Bobbie Benjamin) to seemingly appear everywhere at once. The trio's facial features, uniform voice, and synchronized movement especially please and confuse the audience.

Although the hair and makeup on some characters feels like a bit of an afterthought, the show's animals are beautifully designed and executed caricatures. Costumes are generally well put together, with several clever touches such as crowns made of playing cards for the King and Queen, and neon pink flamingo wigs.

While some of the acting is over the top, the cast's energy drives the show. Each individual character's contribution is apparent; they are committed to the moment. The cast and crew of St. Stephen's and St. Agnes's Alice in Wonderland create a world dabbling with fantasy, perception, and logic; a weird wonderland for audience members of all ages.

Katie Wattendorf
Hayfield Secondary School
Submitted for publication to Alexandria Times

"Oh, you can't help that," said the Cat. "We're all mad here." Indeed they are, and Friday night, this madness took the stage at St. Stephen & St. Agnes School. Their fall production of Alice in Wonderland by Madge Miller was based on the infamous tale by Lewis Carroll.

Originally published in 1865, Carroll's Alice in Wonderland began as a story he told to a friend's three children, and has since been translated into nearly 100 languages, made into over 17 film and television adaptations, as well as multiple theatrical scripts. In 1871, Carroll resurrected the story in a sequel, Alice Through the Looking Glass, and in 1953, playwright Madge Miller re-envisioned the story in this particular stage adaptation of the same name.

In this adaptation of the tale, Alice falls through the rabbit hole into Wonderland and is met by the White Rabbit, who orders her to watch over the Red Queen's "sugar tarts" before the croquet match that is to be held that day. When Alice isn't looking, the tarts are stolen, and she embarks on her journey through Wonderland to resolve the mystery of the stolen tarts, meeting all the famous, colorful characters along the way.

St. Stephen & St. Agnes School's production carried all the whimsical wackiness Wonderland entails with it's intricate set and lighting, along with the well-developed characterization in both the ensemble and leads. The strong creativity in the technical aspects of the show added to the magical feeling of Wonderland.

In the lead role of Alice, freshman Sasha Koch was endearing and sweet in her acting debut. Specific standouts in the supporting roles were Sibet Partee as the White Rabbit, and Tre Vaughn Allison as the Mad Hatter. Partee's characterization of the fidgety and nervous Rabbit was the right balance of realistic and ridiculous, just as it should be in Wonderland. As the Mad Hatter, Allison put his own spin on the acclaimed role, with a sassiness and silliness that stood out amongst the cast. An intriguing aspect of this production was the portrayal of the Chesire Cat, shared among three actresses that popped up at different places around the stage, giving the allusion of the Cat teleporting around at an unbelievably rapid pace. Camille Jones, Nicki Gray, and Bobbie Benjamin worked together successfully in this role, with effective synchronization of their tone of voice and facial expression. Although some characterization amongst the other roles may have been stiff or inconsistent, and pacing was sometimes slow, these problems were greatly made up for by the energy and cohesiveness of the ensemble as a whole.

The strongest elements of this show were the technical aspects of the set, lighting, and sound. A very detailed rotating set was used, with one side displaying an indoor scene, and the other side, an outdoor garden. Artistically shaped clocks hung from the ceiling and garden plants surrounded the stage, setting the magical mood for the whole production. The sound cues were well timed and always suited the scene going on onstage, along with colorful mood lighting. Creative additions to the show were the electrically motored stuffed hedgehogs that were controlled by technicians but seemingly magically manipulated around the stage during the croquet match scene.

In an admirable effort at making an unbelievable world believable, the cast and crew of St. Stephen & St. Agnes School's production of Alice and Wonderland put a fun and quirky twist on a well known story.

Emma Paquette
McLean High School
Submitted for publication to The Voice

The world spins and tumbles and flips as she falls, surrounded by strange black figures and desperately trying to follow the stripes of the White Rabbit's umbrella somewhere below her. Eerie light leaks upon her, while mysterious music builds in the background. Finally, Alice lands on her feet in a curious new land with scenery that dazzles the eyes and takes the breath away, and with eccentric inhabitants whose mad natures are endearing one moment and dangerous the next. Wonderland was brought to life like never before in St. Stephen's and St. Agnes's vibrant production of Alice in Wonderland.

Based on the iconic 1865 novel by Lewis Carroll, Alice in Wonderland chronicles the adventures of a little girl who finds herself in an unfamiliar world after falling down a rabbit hole. In this particular adaption by Madge Miller, Alice must investigate to find the thief who took away the Queen's sugar tarts from the White Rabbit's possession.

The masterful cooperation of the many extraordinary technical elements of the show breathed life into the vivid and imaginative Wonderland. The set was incredibly versatile with a rotating stage and shrubbery that easily slid on and off in order to create both indoor and outdoor scenes with quick and clever transitions. Along with these pieces were several unique items that would masterfully create a new area that fit with the overall feel of the world: these included the seesaw used for the introduction of the Knights, the spinning table at the Mad Hatter's tea party, and the rabbit versions of famous paintings displayed at the White Rabbit's house. Lights were also utilized to perfectly fit the emotion or characters of each scene, with one particular twinkling water effect in the real world being particularly eye-catching. More impressive than any individual section of tech, however, was the cohesion of all of them into a single extraordinary world. The Cheshire Cat's mysterious aura was flawlessly generated through the use of soft spotlights, echoing sound, and scenery for the several actresses portraying the feline to smoothly appear from behind or within.

The actors in this production matched the eccentricity of the tech with their own outlandish behaviors and offbeat personalities. Alice (Sasha Koch) provided the essential foil to the insanity of Wonderland, regarding the happenings with the naïve curiosity that one would expect from a young girl. The Mad Hatter, played with panache by Tre Vaughn Allison, committed to his bizarre character with gusto, drawing many laughs for his exaggerated voice and physicality. The Knights (Aaron Brackett and Christian Osborne) comprised a standout ensemble among the inhabitants of Wonderland, hilariously playing off of each other during their duel and other scenes with ease. Osborne as the Red Knight was particularly impressive, displaying an unwavering characterization even when he was not in the spotlight of a scene.

This production also featured interesting musical composition by Heather McPherson. Frequently, the music would help to cover the noise and length of transitions, adding to their smoothness. McPherson's music fit amazingly with the look of the show, and the inventive choice to set some monologues to music added the edge of a musical feel.

When Alice opens her eyes, the splendor of Wonderland is gone. Instead, she rests in the lap of her sister, as if her whole adventure was only a dream. The mysteries of imagination were flawlessly portrayed through outstanding tech, commendable acting, and original music in St. Stephen's and St. Agnes's School's production of Alice in Wonderland.